The new they exhibited more reservation in their dicta. It is no easy On Tuesday, Madame Medori made her second appearance in that ill-fated opera, Maria di Rohan, and produced even a more favourable impression than on the first night. She sang and acted very finely throughout, and met with the most enthusiastic applause. Before speaking more of this artist, we shall wait to see her in another part. Puritani, on Thursday, an extra night, could not fail to attract a large audience, with Mario as Arturo. To those who have not seen Puritani in its golden days at Her Majesty's Theatre, the performance must have been a high treat; to those who have―― success Last night, the Prophete-first night of performance this season-Madame Tedesco's debut in Fides-her success-Tamberlik's Jean of Leyden-first appearance in the part-his s—Mario and Tamberlik-difference between them in the Prophet-Mademoiselle Plunkett skating ;-as we go to press on Friday night early, must each and all be reserved until next week. Let us premise that Madame Tedesco has a magnificent voice-had a great success, and that Tamberlik was a noble substitute for Mario. Meanwhile Alboni has been in Paris for some weeks, and was offered an engagement by Mr Gye, who wished her to make her rentrée in Fides. But Alboni, weighed down with her transatlantic fatigues, wanted rest, and could not, with due regard to her health and ease, consent to appear before the latter end of July, which period being considered too late in the season, the negociation fell to the ground, and thus the subscribers of the Royal Italian Opera and the public generally have lost seeing Alboni this season. Madame Medori's next part, we learn, will not be Donna Anna in Don Giovanni, but Leonora, in Fidelio. The Leonora is a shrewder notion than the Donna Anna; not that we fancy Leonora a better part for a prima donna than Donna Anna -although we do fancy it but because Fidelio can be given with a more efficient and powerful cast than Don Giovanni. With Tamberlik as Florestano, Belletti as Pizarro, Formes as Rocco, Castellan (not Bellini, mind you) as Marcellina, and Medori as Fidelio, we might expect a grand success for Beethoven's chef d'œuvre. We shall see what we shall see. Dramatic. Mademoiselle Such f FRENCH PLAYS, ST. JAMES'S THEATRE. Rachel took her leave of us on Wednesday last in Les Horaces. This we have always considered as one of her best, if not her best character; not that she therein displays a greater variety of emotions or produces those grand effects which electrify the soul and carry away the audience from the intensity of the passions exhibited, for with the exception of the curse upon Rome commencing with "Rome, unique objet de mon ressentiment," in which she concentrates the whole force o. her hatred upon the city which has deprived her of her lover, there is nothing positively exciting, nothing which exceeds the bounds of ordinary emotions and every day sensation. Yet, as we have already said, this small part of Camille, perhaps from its very unobtrusiveness, commands all our sympathies, and at the same time may furnish a very useful lesson to our modern dramatists, who may learn from this example what grand effects may be produced without in any way infringing upon the fantastical or supernatural. It is, no doubt, a great fact that sympathy with the heroine conduces materially to our preference for this character; we love her from the very moment she appears before us, our interest is warmly excited in her favour when she is torn by the conflicting emotions, her affection for her brother and her country, and her love for Curiace; and when she exclaims, "O dieux, que ce discours rend mon âme contente," there is a sublime expression of placidity and joy on her countenance, a thrilling softness in the tone of her voice, a subdued burst of delight expressed in a low whisper as if too great for utterance, infinitely more effective than the wildest burst of enthusiasm or the most frantic display of passion. touches are the very refinements of the art, and in these Mademoiselle Rachel excels. Being addressed to our nobler sympathies, they are ever received with unalloyed pleasure; unmixed with foul or criminal ingredients the soul admits them with rapture, and dwells upon them with unfeigned joy and gratification. We pity Phedre the victim of Venus; we admire Chimène sacrificing her love to her filial duty; we feel for Hermione distracted by her love for Pyrrhus and her jealousy of Andromaque; but all these sensations are concentrated in this insignificant and yet grand character of Camille. We pity Camille, we admire Camille, we feel deeply for Camille, and what is more than all, we love Camille, as we love whatever is simple, good, kind, affection. ate and devoted. In her we witness the expression of our every day experience; there are some whom we admire, few that we love, and fewer still whom we admire and love together, as if the nobler qualities excluded the softer emotions and were incompatible in the same person. Timid, wavering, humble in the first three acts, she is only aroused to a sense of her position when she is ordered by the inexorable honour of her kindred, "to kiss the hand which has destroyed all her hopes of happiness." Her grief is, although subdued, without bounds, and when taunted by the reproaches of her brother she bursts forth into the passionate and venomous curse upon Rome, her whole person is transfigured; all her love and her kindlier feelings have disappeared and this electrical display of hatred and revenge winds up the action of the play by a denouement not to be exceeded in force by any within our experience. The by-play of Mademoiselle Rachel must be seen to be fully understood; her exclamation "O, mes frères," in the third act, and her "Helas" in the second scene of the fourth act, in which she only utters this single word, were admirably descriptive of her grief. The effect produced on the audience was very great, the applause was universal, and when the curtain had gone down, Mademoiselle Rachel was re-called and greeted with a complete shower of bouquets. Thus terminated with éclat the present season of French plays and the engagement of Mademoiselle Rachel. It is a curious fact that with some very rare exceptions, the French classics have been almost excluded fromthe repertoire of Mademoiselle Rachel, Phèdre, Folyeucte and Les Horaces being the only pieces played during her present engagement. Evidently the taste of the public inclines toward the harrowing and the grotesque in art. Adrienne Lecouvreur has again been the favourite, as it was two years ago; the convulsive agonies of the death scene in the fifth act seem to possess a morbid attraction for our delicate ladies of the aristocracy. We suggest that the filthy display of a father dragging on the stage the dead body or rather half dead body of his daughter, so attractive at Covent Garden in the Italian version of Victor Hugo's "Le Roi s'amuse," might be transferred to the French theatre with immense éclat, and share the honour of repeated demands with the last dying speech and confession of Adrienne Lecouvreur. The other pieces given were Diane, a drame in every sense of the word, yet free from anything offensive; Madame de Girardin's comedy Lady Tartuffe, the best and most witty play in the modern repertoire; and Louise de Lignerolles, a drame of the worst description, scarcely worthy of the worst days of the old Coburg-such is the new direction which Mademoiselle Rachel seems to have taken. We cannot but exclaim, in spite of the high admiration we profess for the genius of the greatest actress of our times, what a fall was there, my countrymen ! Helas! we also say with Camille, and as the word is sufficiently expressive we shall say no more, but tender our thanks to Mr. Mitchell for the admirable manner in which he has conducted the affairs of the French theatre during the present season. SURREY.-The activity and success of Miss Romer's management have, during the last week, been again manifested in the production of Meyerbeer's opera, Robert the Devil, and in the debut, at this theatre, of Mr. Henry Drayton, in the part of Bertram (the demon-knight). Mr. Drayton has been for some time much esteemed as a concert-singer, of varied as well as considerable talent. This is not the first time that Mr. Drayton has assumed a leading character on the lyrical stage, and he is not altogether unknown to the opera-going public. His voice, which is a bass, including in it the baritone compass, is powerful, but somewhat hard in quality. Ere ten minutes had elapsed, it became clear that he was quite conversant with stage business, his manner being perfectly self-possessed, and his action bold and free. Meyerbeer is well known for his close entwining the vocal with the histrionic powers of the performer. All the writer's songs are scenes or soliloquies, and all his duets, trios, concerted pieces, &c., are dialogues; some of them, none of the most intelligent or agreeable. In fact, the opera should have had a larger infusion of music in the more simple forms of the ballad opera, in the place of these eternal colloquies and soliloquies in music. Mr. Drayton's latter scenes were his best. In the earlier ones, in which Bertram is quietly contemplating his destined victims, his manner lacked the cold and withering cynicism absolutely necessary to the Mephistopheles tribe, to which Bertram unquestionably belongs. When, however, the demon-knight is roused to energy by opposition, or other canses, Mr. Drayton was far more successful. His best effort was the "grand scena," or dialogue with the demons (the latter behind the scenes). This was given with a dramatic energy and truth which elicited the most unequivocal approbation; and his struggle in the last act with Duke Robert and Alice was given with a portion of the same force. As far as the state of the house may be taken as an evidence of ultimate success, Mr. Drayton may confidently congratulate himself on the result, as the theatre has been crammed since the night the opera was produced (last Saturday). Miss Romer made an excellent Alice. Her long and elaborate song at the beginning of the second act, was the best piece of vocalizing during the evening. Her comic acting is her best. The gleeful rubbing of her hands, when in the enjoyment or anticipation of happiness, is at once naive and natural. The part of the Princess gave Miss Lowe but little opportunity for histrionic exertion. Her two songs were very nicely given. In her well-known appeal on her knees to the Duke, when armed with the magical branch, she was less successful. Her voice wanted the requisite not usual with her. The chorus requires more drilling, but power, and her intonation was not uniformly correct, a fault allowance must be made for the unusual difficulty of the music. Among the rest of the attractions of the piece, Miss Palser's graceful dancing must not be omitted. The opera has been produced with a splendour and completeness in scenery and appointment, of which, if we do not say more, it is because we are too much accustomed to them here, to render more particular mention of them necessary.-(From a Correspondent.) Concert Overture (Opera 126) ... ... Spohr Mendelssohn. Mozart. Spohr. Spohr. Reichert. Beethoven. Dr. Spohr. Conductor Dr. Spohr was greeted with enthusiastic applause. His concert-overture, a recent production, is more remarkable as an elaborate piece of orchestral writing than a work of invention. It has all the peculiarities of its composer; but it smells of the lamp, and the labour bestowed upon it is scarcely repaid by the effect produced. The magnificent overture to the opera of Jessonda, magnificently played, and encored unanimously, was quite another affair. Here the genius of the composer is happily evinced; while in the concert-overture his learning and experience are alone exhibited. The one is an inspiration; the other is a task accomplished. Each has its claims to consideration; but there can be little doubt which of the two is most likely to appeal at all times to popular sympathy. The elegant air "Dass mich Gluck," another beautiful specimen from the opera of Jessonda, was well received. The singers-Herr Theodore Formes (a brother of the well-known basso of the Royal Italian Opera)—has a tenor voice both powerful and pleasing. He sings with feeling, and made a favourable impression on the audience. No other music by Dr. Spohr was performed. The New Philharmonic Society has been chiefly instrumental in making the ninth symphony of Beethoven familiar to the general public. It was played twice last season with signal success, under the direction of M. Hector Berlioz ; and thus became known to at least 3,000 people to whom it might otherwise have remained a sealed book. The greatest composition of Beethoven, it is also the most difficult; and the means demanded for its effective execution are such that it can only be given on rare occasions. It is, therefore, no small credit to the directors to have produced it three times in the course of twelve concerts. The sensation it has invariably created, however, was a good proof that they had not overestimated the faculty of the public to appreciate, or the power of Beethoven, in his loftiest flights, to captivate and charm. The performance of the Choral Symphony last night, under Dr. Spohr's direction, was in every respect remarkable. The German version of the score was used (as with Berlioz) and not the French edition, which, dispensing with the repetition of the scherzo, spoils one of the finest pieces. Anything more admirable than the execution of the three instrumental movements could not have been desired. The orchestra proved itself, not for the first time, the most efficient ever heard in this country. The finale, in which Schiller's Ode to Joy is so marvellously illustrated, approached more nearly to the desired perfection than on any previous occasion. The chorus was unusually correct; and the most trying passages were acccomplished with singular precision. The solo vocalists -Mademoiselle Bury, Miss Bassano, Herr Theodore Formes, and Mr. Weiss-acquitted themselves most creditably. Their task was arduous, since Beethoven, yielding to the impulses of his genius, disdained to consult the convenience, or even the capabilities of voices, and wrote under the persuasion that his music ought to be sung, whether practicable or the contrary. The applause, at the termination of each movement of the symphony, was unbounded; and, for the third time in London, a great masterpiece, which in certain quarters had been rated as “extravagant, unintelligible, and impossible," was proved to be reasonable, intelligible, and quite possible. If things progress in this fashion, it will be a matter of no surprise when the Choral Symphony shall become as popular with the masses as the C minor, or the Pastorale. Conductor, Mr. Costa. Mozart. The symphony of Spohr is a work of great interest. Its design is to illustrate the four great epochs in the history of the musical art. The first movement (in G) opens with a kind of fugato, relieved by a pastorale, which is followed by a repetition of the fugato. The schools of Bach and Handel are not unsuccessfully imitated in this part of the symphony. The larghetto (in E flat is) supposed to represent the time in which Haydn and Mozart flourished. The slow movements in two of Mozart's symphonies (in E flat and D) have evidently served as the basis of this very ingenious parody; but of Haydn no indications whatever are to be found. The scherzo (in G minor), designed to illustrate the period of Beethoven, is the least characteristic of the four movements. It is no more like Beethoven than it is like Berlioz. The theme cannot fail to recall the minuet in Mozart's G minor symphony, but the The "Ave Verum," and "Kyrie Eleison," of M. Silas The finale (in G), directed at the modern style of orchestral development and instrumentation are Spohr, "unadulterated." are thoughtful and clever. We believe they form part of a work, not yet completed, by this young and rising composer. and purcussion, which are employed with a really brilliant writing, calls in the resources of all the instruments of brass M. Theodore Formes sang the tenor solo in the first. The last was well executed by the chorus. Both movements, Masaniello, while the abrupt modulations in the second motivo effect. The opening subject suggests a reminiscence of Auber's however, would have gained by being taken a little quicker. would seem to be aimed at Hector Berlioz the general chaMendelssohn's Concerto in D minor was played by Master racter of the whole, however, is as completely Spohr as any John Barnett (pupil of Dr. Wylde), a very young pianist, of movement of the composer in which he professes to be nothing whose performance, last year, at one of the concerts of the else than himself. The symphony was remarkably well exeRoyal Academy of Music, we had occasion to speak favour-cuted; and the composer, who was in the room, was compelled ably. More flattering tokens of encouragement could not have been bestowed on a youthful executant. The audience applauded Master Barnett with the utmost warmth, and unanimously recalled him at the end of the concerto. Mademoiselle Bury, who sung the air from Zauberflöte ("O zittre nicht❞—the first song of the Queen of Night,) was also recalled, and compelled to repeat the latter part. The flute solo of M. Reichert-a fantasia on the Carnaval de Venice-was one of the most original and extraordinary displays of executive facility to which we ever listened. Had we not heard it, we could scarcely have believed that such an exhibition of dexterous mechanism was possible on such an instrument. M. Reichert thoroughly astonished the audience As to rise from his place and acknowledge the applause of the Philharmonic Concerts, was honoured, as usual, with a warm reception, and greatly applauded at the end of the concerto. The charming duet in A, from Spohr's Jessonda, was well sung by Mesdames Castellan and Viardot; and the magnificent overture to Oberon, played with great fire and energy, displayed the resources of the Philharmonic orchestra to striking advantage. The only objection that could possibly be made to the performance of Beethoven's superb symphony-so different from all the others, and yet so like himself-was with reference to the finale, which, though marked "allegro ma non troppo," was taken almost presto. The execution was so correct, however, even to the very difficult passage for the first bassoon at the reprise of the subject, that it would have been hypercritical to complain. The adagio, one of the freshest and loveliest inspirations of Beethoven, was played to perfection; and the whole symphony was a treat of the highest order. Madame Castellan sang the scena of Mozart extremely well; but it was, nevertheless, ineffective. "Non temer" is one of the airs with pianoforte accompaniment-perhaps the most beautiful of all. Its transposition for the orchestra, with the subterfuge of a violin obligato (however well played by M. Sainton) in place of the florid passages written for the original instrument was not only a mistake, but an unwarrantable liberty. Moreover the orchestration was by no means good. M. Ferdinand Hiller's concerto was not the less welcome throw out numerous sops to Cerberus, in the shape of catching tunes, and those little tart quaintnesses which serve like sharp sauce to stimulate a flagging musical appetite-such a public, we say, wedded to conventionality and ear-tickling oddities, we do not expect Berlioz's work would please. But although they displayed little or no enthusiasm on this occasion, we are far from believing that the frequent, violent, and most unjust disapprobation which accompanied the performance, emanated from disinterested parties. Operas not possessing one tithe of the merit existing in the score of Benvenuto Cellini, have been produced at the Royal Italian Opera, and received with applause, or at worst with coldness. Verdi's Rigoletto, in which the composer has almost abandoned his usual noisy, vulgar style, and aimed with the worst possible success at novelty, was approved. Gounod's Saffo, a still bolder, though not much happier attempt at singularity, was also tolerated, if not admired. Why, then, was Hector Berlioz's opera, a work which it would be insulting to him to compare with those we have mentioned, hissed throughout with a determination which the vigorous efforts of the major portion of the audience failed to overpower? We have had some experience in theatrical matters both at home and abroad, and must say that the conduct of a certain number of the audience on Saturday night looked extremely suspicious. of collusion and malice prepense. M. Berlioz is, as is now well known, an original thinker in music-a sworn foe to established formularies and conventional modes of expression, although, we believe, a sincere and reverential admirer of all that is really and essentially great in his art. Our composer has earnestly sought throughout an honourable and now tolerably long career, to preserve the spirit of musical excellence, whilst repudiating subserviency Our opinion to, or imitation of, even the greatest masters. upon the general merits of M. Berlioz has already, on several occasions, been given; let us, therefore, turn our attention to the present work, which affords a very fair specimen of his powers. It is extremely dramatic, though not, perhaps, "theatrical;" that is, the author has given us music which is characteristic, and faithfully illustrates the scenic action, although it affords no scope for those wonderful "stage effects" to which we have been so long accustomed. The sibillations were delivered with a simultaneousness, because it came at an unreasonably late hour. Both compo-precision, and perfectness of ensemble, which savoured strongly sition and performance were remarkable. The concerto comprised an allegro and rondo finale in F sharp minor, and an adagio, in D, which separates and agreeably relieves them. The allegro is in the "classical" fantasia style; while the rondo adheres closely to the accepted forms. Each of these movements is novel and characteristic, betraying vigour of thought and musical skill of a rare order. The adagio is melodious and expressive; and the whole concerto, while effectively written for the principal instrument, is scored with great ingenuity for the orchestra. M. Hiller has long been accepted as one of the best pianists on the continent, and his masterly playing on the present occasion was worthy of his reputation. His reception, and the applause bestowed upon his concerto, were as genuine as well deserved. The duet from Cosi Fan Tutte (an opera so unaccountably banished from our Italian stage) gave unanimous satisfaction. The overture of Herr Lindpaintner, a spirited and clever work, was admirably played. Being a novelty, and one of the last compositions of a musician of acknowledged eminence, it deserved a better place in the programme. It was by far too good to serve as a voluntary while the audience were dispersing. An extra concert has been "commanded" for Monday next. The programme is one of great interest and variety-reflecting not for the first time, the highest credit on the musical taste and judgment of Her Majesty. BENVENUTO CELLINI. (From the Morning Post.) The Benvenuto Cellini of Hector Berlioz, the celebrated French composer and critic, was produced at the above theatre on Saturday evening, and met with that kind of success which should be most valuable to an artist, the approbation of connoisseurs. The general public, whose ears have become accustomed to the stale platitudes of the modern Italian school, and the dashing theatrical effects of Meyerbeer, who, with all his musicianly feeling, always contrives to The instrumentation is generally most ingenious, and full of novelty, and, although excessively difficult to execute, the results obtained, when duly expressed by the performers, perfectly justify the unusual means employed. We cannot pretend to give a critical analysis of so elaborate and important a composition after a single audition, and must, therefore, confine ourselves for the present to generalities. The same merits and defects which we have remarked in other scores by M. Berlioz exist in that of Benvenuto Cellini, but it is impossible not to recognise in every part of it the mind of an original thinker, and a man actuated by a praiseworthy desire to extend the powers of music. To "P. P." The flower of "Sweet-William" is fading away, 27, Victoria Terrace, St. John's Wood. TESTIMONIAL TO MR. BOWLEY, HON. LIBRARIAN OF dent, and the Committee and Secretary for the Testimonial, which, THE SACRED HARMONIC SOCIETY. On Monday, June 22nd, a meeting of the members, subscribers, and friends of the Sacred Harmonic Society was held in the lower hall, Exeter Hall, for the purpose of presenting to Mr. Bowley, the Honorary Librarian of the Society, a testimonial of the esteem with which they regarded that gentleman, and an expression of their appreciation of his valuable services rendered to the Society and to musical art generally, especially amongst amateur associations. The platform was occupied by the Committee of the Society, with some of its influential friends, the conductor- Mr. Costa, and others. J. N. Harrison, Esq., the President of the Society, filled the Chair; and the body of the hall and gallery were graced by the presence of a large number of ladies. The President opened the proceedings with some preliminary remarks suitable to the event, calling upon the Society's Honorary Secretary, Thomas Brewer, Esq., to undertake the address, customary on such occasions. Mr. Brewer in a speech of considerable length, then proceeded to retrace the history of the Society, from its formation in 1832, to the present time, with a view of showing the important change that has taken place in the character of such musical demonstrations, if we may use the term, as are now given by the Society, compared with the very occasional and imperfect concerts, or festivals, of the former period. This change, as it regards the Sacred Harmonic Society, he ascribed more to the exertions of Mr. Bowley, than to any other individual, while the labours of that gentleman have been felt and acknowledged in the progress of some of our most important provincial societies. The hearty applause, which from time to time interrupted the speaker, showed how completely his statements met the concurrence of the meeting. Mr. Bowley's connection with the Sacred Harmonic Society would appear to have commenced in 1834, when the Society co-operated with other amateurs, in the well remembered amateur musical festival of that year. In the Society he is known officially as their Honorary Librarian; and the discharge of his duties in this respect have been alike creditable to his good taste and knowledge, as those who are acquainted with the extensive and valuable library of the Society will admit; but far more important services than these have been rendered by Mr. Bowley, in nearly every capacity in which the usefulness of a member could be made available. The speaker further remarked upon sacri fice of time, unremitting attention, and occasional exposure to circumstances involving pecuniary risk, coupled with the thorough disinterestedness which have marked the entire career of Mr. Bowley, which combined to constitute an amount of grateful obligation to that gentleman, which the Society could not longer fail to recognise. The Chairman then withdrew the cover which had screened the objects forming the Testimonial from view. They consisted of a silver Epergne, from the manufactory of Messrs. Hunt and Roskell, of a design which gained high honours in the Great Exhibition; a very elegant silver Tea-Service, with Kettle and Salver, made by Messrs. Angell, of the Strand, and sundry smaller articles of plate, amounting in the whole to more than 600 ounces. Mr. Hill, the Secretary of the Testimonial Committee, read the inscriptions which had been engraved upon some of the larger articles, and drew the attention of the meeting to a handsomely-bound volume, recording the circumstances of the presentation, with the names of the subscribers, the whole very richly illuminated in the ancient missal style, by Mr. Driver, one of the Society's stewards. It is worthy of remark, that the number of the subscribers exceeded 520, and the amount of their subscriptions was upwards of three hundred guineas. The presentation having formally taken place in a few words from the President, Mr. Bowley rose to return thanks. He spoke with considerable emotion, and briefly alluded to the various topics which had formed the subject of the opening address, particularly acknowledging the support he had received at the hands of his colleagues, in the discharge of his arduous duties. He acknowledged the Testimonial now presented in terms which appealed to the sympathies, and elicited the cheers of his auditors. Wm. Bartholomew, Esq. proposed a vote of thanks to the Presi being carried, the meeting separated. The following is a copy of the inscription engraved upon the large Salver : PRESENTED, With an EPERGNE, a TEA-SERVICE, and other Articles of Plate, by upwards of five hundred of the Members, Assistants, Stewards, THE SACRED HARMONIC SOCIETY, LONDON, ROYAL ENTERTAINMENT AT GLOUCESTER HOUSE. Her Royal Highness the Duchess of Gloucester gave a grand entertainment, on Saturday last, to their Majesties the King and Queen of Hanover, her Royal Highness the Duchess of Kent, and her Serene Highness the Princess Adelaide of Hohenlohe, his Royal Highness the Duke of Cambridge, their Royal Highnesses the Duchess of Cambridge and the Princess Mary, and their Royal Highnesses the Hereditary Grand Duke and Grand Duchess of Mecklenburg-Strelitz, and the Duchess Caroline of Mecklenburg Strelitz. The Crown Prince of Hanover, and the Princesse Frederica and Marie, accompanied their illustrious parents, and the Prince Adolphus of Mecklenburg-Strelitz was also present. The intention of the Royal Duchess was, to have assembled once more around her hospitable board all the members of the Royal Family now in England. The Queen and Prince Albert had accepted invitations for themselves and the youthful members of the Royal Family, and, we regret to add, they were alone prevented being present by the illness of the Prince of Wales. The King and Queen of Hanover, attended by their suite, arrived at Gloucester House at five o'clock. Their Majesties were received in the entrance-hall by Lady Georgiana Bathurst and Col. the Hon. Augustus Liddell, the lady-in-waiting and equerry to the Duchess of Gloucester, by whom they were conducted to the music saloon on the ground-floor of the mansion, where the illustrious hostess was in attendance to receive her royal guests. The other members of the royal family followed in quick succession. The party having been originally intended chiefly for the younger members of the Royal Family, the Duchess of Gloucester, with that considerate kindness peculiar to Her Royal Highness in all that relates to children, had caused to be provided a very agreeable entertainment, among which was an elegant exhibition of Fantoccini, &c. This was exhibited in an apartment adjoining the reception-saloon, immediately after the arrival of the guests. For the amusement of the King of Hanover and the guests of a maturer age, the English Glee and Madrigal Unton, consisting of Messrs. Francis, Lockey, Hobbs, Land, and Frank Bodda attended, and sang several of their choiest glees. The dinner was served at 6 o'clock. for 26. Covers were laid After the desert had been placed upon the table, the members of the Madrigal Union were again introduced, and they continued to sing a variety of their most favourite compositions until 8 o'clock, the hour at which it had been arranged most of the party should proceed to the St. James's Theatre, to witness the performance of the French Plays. The musical talents of the Unionists gave so much satisfaction that the hour of departure was prolonged, and the King of Hanover paid the party the highest possible compliment by giving up his original intention of proceeding to the theatre, and remaining to listen to a style of music from which his Majesty declared he derived great pleasure, and which had really proved the richest musical treat he had had since his arrival in England. The performance was under the direction of Mr. Land. |