whether so extraordinary and uninterrupted a career is not "Dream the danger o'er again." (This line is copyright.-Ed.) The "Ascent," then, will take place, on Monday night, for the 500th time! We wonder that Mont Blanc is not worn out by the feet of so many climbers. On the contrary-it looks fresher, and fiercer than ever. The brilliant brush of Beverley has revived its primitive colours; and Albert Smith may be said to begin, de novo, to get up its sides. time to settle Robson. We should like to see the man could do it. That's all! Everybody knows about Russia and Turkey, the Danube and the Dardanelles, the occupation of forbidden ground by the Czar, the interference of England and France, and the bold bearing of America—which, by the way, is the natural land of the turkey-in favour of Turkey; but how few as yet have seen Robson! how few heard of him! Anon, and all London will hear of him, and see of him. Who is Robson? some of our readers may naturally ask. Now, that is the Robson question! The reader shall know, even as we know. We shall speak from ourselves. A few months since, in the heart of the season-the operatic season, when novelty was rife and boxes rare-we heard from various quarters of one Robson, who was exhibiting extraordinary comic talent in a burlesque of Macbeth at the Olympic Theatre. We were even entreated to go to see Robson. But we were sceptical and cautious. "Is he in the papers?" May he get up a thousand times! After the 1001st ascent said we. Robson was not in the papers. Wherefore we did not (let this be borne in memory) Albert will give a public dinner, go and see Robson. Still, from time to time, we heard of the in Exeter-Hall, to 1001 diners, including the dramatic and extraordinary comic talent of Robson, and were again and musical feuilletonists of the Field, the contributors to Diogenes, again entreated to go and see him. But he was not in the Came a change the staff of the Musical World, the aesthetic editors of the papers. We did not go and see Robson. Leader, the conductor of the Court Journal, the biographer of in the performances at the Olympic. Robson played Shylock Haydon (not Haydn), the author of Vanity Fair, and the Gar-in a burlesque of the Merchant of Venice. He was in some of rick and Fielding Clubs, to a member. Say 35s. a head (wine the papers-not in all. Bear that in mind. The Times, the understood), and the banquet will not cost more than 35,000 great arbiter in dramatic affairs, pronounced Robson's Shylock Influenced shillings, which, with £25 for the hall, and a new florin for "among the histrionic phenomena of the age." each of the guests, as a memento of the occasion, will give, by the Times, we went to see him who is about to influence in sum total, 38,000 shillings, or 19,000 florins. the times. The Times was right. We had only to behold and be convinced. Robson is undoubtedly among the histrionic phenomena of the age. "Non nobis Domine" will be sung, before dinner, by the Sacred Harmonic Society; the longest of Beethoven's symphonies will be executed, after dinner, by the new Philharmonic Band; selections from Faust and Jessica will be played at dinner, by Alfred Mellon and the Orchestral Union; and, during dessert, in order that the feast of wit and the flow of soul may not only be promoted by wine and olives, but urged on by merry music, Mr. George French Flowers will perform, upon an ancient harpsichord, the whole of the 48 preludes and fugues of John Sebastian Bach. Later in the evening, Albert Smith, and a select circle, will retire to the Fielding, attended by Mr. Ella, of the Musical Union, under whose direction some good quartettes will be introduced, to enliven the grog and the cigar. So we conclude. Mr. Robson's antecedents-as the vulgar tongue phrases it -are unknown to us. We believe he was for some three or four years principal low comedy man at the Eagle Saloon; that he had occasional engagements in the provincial towns; and that lately he was "starring" it in the Dublin theatre. His engagement at the Olympic was a matter of the veriest chance. His being cast for the part of Macbeth was entirely fortuitous. Mr. Robson is a young man-not seven-and-twenty, small of the Keeley stature-with a singularly expressive counteHis action and nance, and an eye like Edmund Kean's. movements are easy and natural. In fact, with the exception All this will come off after the 1001st ascent of Mont Blanc, of his size-which falls into the category of the "diminutive” on the ladder of Albert Smith's memory, and not before.--nature has been most bountiful to him. His voice is not (Enter Rommi.) (To be concluded the day after the dinner.) ROBSON. THE two topics of paramount interest now prevailing in all circles are Robson and the Russian question. The Russian question is about to be settled, definitively and to universal satisfaction. Not so the Robson question. It will take some powerful, but it is capable of every variety of tone, and can adapt itself to any passion. We have heard nothing so musical in the pathetic since Macready left the stage. The moment Robson entered the scene as Shylock, we were His burlesque convinced no ordinary man stood before us. acting is entirely sui generis. He plays the part earnestly, nay seriously, throughout, thereby drawing the nice, but overlooked distinction between burlesque and travestie. He HOM DISAS never makes fun of the part; he let's the part make its own fun. With him the Shylock of the burlesque is as real, down-right, flesh-and-blood a personage as the Shylock of the play. Not Kean himself was ever more terribly in earnest in several of the scenes. The scene where the Jew discovers the elopement of his daughter and the abstraction of his gold, is a transcendant effort of genius, which we have not seen surpassed. The passion is overwhelming in its force, and the alternations of violent grief and wild joy-as Tubal conveys to him the different tidings-are managed with a tact and skill worthy even of Macready. In the last scene toothough here the actor was pressed down by the loose construction of the piece-there were some grand points-all tragic, remember, despite the "old clo" vernacular and the pantomimic attire. In short, Mr. Robson's Shylock must be set down as one of the most striking and admirable performances on record, and as entirely original in both the conception and the acting. After witnessing the power, intensity, pathos, and unity of purpose, and, as it were, loftiness of conception-for such it truly was-manifested in Shylock, we confess we were not `prepared for the inimitable humour and fun of Jem Baggs in the Wandering Minstrel, a street beggar with a clarionet of some three notes, never in tune, and tatters to match; with a gin-and-water voice borrowed from a cab-stand, a crownless hat, soleless boots, and an understanding as obtuse as a haystack. The piece is not very good, and the character indifferent; but in the hands of Robson, Jem Baggs became irresistible, and achieved an immense success. The third part in which we saw Robson was Joe Earwig in Boots at the Swan, on Monday evening last, his first performance in that part, as we learn. Here Robson came out in a different light altogether. In Shylock and Jem Baggs he used a feigned voice; in Joe Earwig he was, so to speak, himself vocally. And how different! We hardly recognised him. We know no actor who can throw himself so much out of himself, and project himself so truly into a part. To achieve this is the very acme of art, and Robson has achieved it. The only downright good scene for Joe Earwig is that in which he feigns intoxication, and afterwards becomes really intoxicated. The bounded exaggeration of the pretended drunkenness, and the truthfulness of the real, we have not seen equalled since the days of Power, who could get gradually drunk in pretence as well as certain friends of ours in reality, and that is saying a great deal. The audience laughed until they cried, and applauded until their palms Palmam qui meruit ferat. Robson deserved their palms. He will bear them. were sore. The season at the Olympic will soon close, but at the opening of the winter session the admirers of Robson will be drawn thither, for Robson is engaged. Henceforth London cannot do without Robson. Were it to lose him, it would lose one of the most brilliant lights that has lately appeared in the dramatic sky. Whosoever requires a new sensation, let him go and see Robson at the Olympic. Whosoever is desirous of seeing an actor of the highest gifts and acquirements, let him go and see Robson at the Olympic. Whosoever loves the quaint, the rich, the racy, the pungent in comedy, let him go and see Robson at the Olympic. Robson plays Shylock and Joe Earwig to-night at the Olympic. We shall be there in our old place, not as critics, but spectators. -MUSIC AT BRIGHTON. (From our own Correspondent.) A MORE than usually interesting concert was given, on Thursday afternoon, at the Pavilion, by the enterprising Mr. Wright; whose enterprise, to judge from the crowded state of the music-room, must have been richly rewarded. The stars of the concert were three:-Piatti, Molique, and Wilhelmina Clauss. There were besides, the Misses McAlpine, who sang four duets and a ballad each with good success. Molique's performances created the greater interest, since, if we are rightly informed, it was that great violinist's first appearance at Brighton. His playing was distinguished by all those qualities which place him at the head of the classical school of violinists. He performed an andante and rondo of his own composition; a work full of musical beauties, besides being brilliantly written for the instrument. He also played, with Mademoiselle Clauss, two of his "Melodies" for violin and piano, which are among the most graceful and charming of his minor compositions. Herr Molique's performances made a most profound impression, and were honoured with the most flattering marks of approval. Signor Piatti played an air by Schubert with exquisite tone and expression; and a solo on themes from La Sonnambula, which displayed his perfect mechanism and unrivalled executive talent to the highest advantage. He also entirely won the sympathies of the audience, and retired after each performance amid the loudest applause. Last, not least, Mademoiselle Clauss-whose first appearance it was at Brighton-made such an impression, that it is very unlikely to be her last. The audience received her with the highest favour, and were thoroughly captivated by her performances. Mendelssohn's superb trio in C minor was the grand feature of the concert. Wilhelmina Clauss at the piano, Molique at the violin, and Piatti at the violoncellohow can it go otherwise than well? It went better than well. It went magnificently. Each of the performers was imbued with the spirit of the mighty master, and interpreted to the crowd, so that the crowd was enraptured, and its applause was vehement. The first solo performances of Wilhelmina Clauss consisted of Chopin's elegant and sentimental notturno, in E flat, Op. 9; followed by the piquant impromptu, in A flat, of the same composer. Both were delightfully played, and the first was encored and repeated. Later in the concert, the same compliment was bestowed upon her brilliant execution of Thalberg's very popular and very performed etude in A minor. This time, however, Wilhelmina would not be At the next concert given by Mr. Wright, in September, MUSIC AT HAMBURGH. A letter received from the free city of Hamburgh contains the following about music, which may be interesting: celebrity of Italian dramatic music has been founded. The various managers who have ruled the destinies of the Royal the resources of the French and German schools, in order to Italian Opera have, therefore, had no choice but to draw from strengthen and enrich their répertoire. But for the operas of Meyerbeer, indeed, and the works composed by Rossini and Donizetti for the Académie Royale de Musique, the present ful one at the best, if even its existence had been prolonged up condition of our great lyric theatre would have been a doubtto the actual period. The most successful and profitable of the foreign operas which, during the last seven years, have been engrafted upon the Italian stage, Fidelio excepted, are those borrowed from the French stock. Owing to the interesting and dramatic character of their plots, these operas have served in an equal degree as vehicles for fine acting and fine "The zealous director of our opera is doing his best, with singing. The thoroughly German works, on the other hand, the assistance of Kapelmeister Barbieri, to keep alive the in-courting attention chiefly to their elaborate and magnificent music, have hitherto been less happy in gaining proselytes terest of the performances during the slack season. There among the public of the Italian Opera-a public, it must not has been very little novelty of late, but considerable curiosity be forgotten, in most respects essentially different from that is excited about the promised representation of Rossini's which flocks to the sacred and secular concerts at Exeter-hall. Tancredi, in which Madame Macfarren, from London, is to Meyerbeer being for the moment exhausted, the Camp of Silesia perform the character of the hero. a sealed book, and the Africaine still in embryo, the manageIt will be remembered ment was perfectly justified, in its search for novelty, in giving that, two years ago, when this lady was on a visit to some a trial to one or two of the operas of a composer who enjoys so friends in Hamburgh, Herr Wurda heard her at a concert, and distinguished a reputation as Spohr, and whose Azor and Zemira immediately entered into a treaty with her to appear in the may still be remembered as one of the most lucrative musical same opera. Circumstances, however, prevented the talented pieces ever brought out at Covent Garden when Covent Garlady from remaining at that time in Hamburgh. Now, how-therefore, a wise step, and that of Jessonda not less so. den was an English theatre. The production of Faust was, If the ever, that she is again on a visit to her friends here, negocia-"paying" operas, like the Huguenots, Lucrezia Borgia, &c., tions have been renewed by the director, and there is every were given every week, their attraction would soon diminish, hope that the opera will be produced, with Madame Macfarren and their value to the treasury be dissipated. The legend of as Tancredi. As her health, for the re-establishment of which the bird which laid the golden eggs should not be forgotten by she left London for Hamburgh, is greatly if not entirely restored, we may expect shortly to hear her at a concert. Meanwhile Kapelmeister Barbieri is already preparing the rehearsals of Tancredi, which has not been heard on the Hamburgh stage since Mdlle. Joanna Wagner was here. THE ROYAL ITALIAN OPERA. Spohr's romantic opera of Jessonda-the third, and it may be presumed the last, novelty of the present season-was produced on Saturday night, for the first time on the Italian stage -not, as was stated in the bills, for the first time in this country, since it was performed many years ago, with eminent success, by a German company, at the St. James's Theatre, when the afterwards famous bass singer Staudigl made his debut in England as Tristan. directors. Jessonda is so well known by its music that it will not require a very long description. The plot is founded on a sufficiently good story, but it is needlessly spun out; and, as in other operas, Spohr has had an ungrateful task to perform in combatting against lagging interest, want of incident, and dead halts in the action. If, however, a composer chooses to accept a weak libretto he must not complain of the results, since himself alone is to blame. Mozart set Zauberflöte; but Mozart was a prodigy, and his invention inexhaustible. The brilliant Rossini conquered Semiramide, but fell under the weight of the last two acts of Guillaume Tell. Auber and Meyerbeer have always taken care to have good books, and this has had no small share in their constant successes. Spohr, like so many of his compatriots, absorbed in the contemplation of his own art, was not sufficiently exacting when about to wed it to another. The story of Jessonda, however, is by no means so weak as that of Faust. It is intelligible, That the Royal Italian Opera is gradually advancing towards simple, and not without interest. The scene is laid at Goa, the position owned by the great musical establishment in the in the 16th century. The Portuguese colonized in the vicinity rue Lepellitier-that of a national theatre, open to composers are about to invest the city. The Rajah of Goa dying, his and singers of all nations, the only difference being that the wife, Jessonda, in accordance with the ancient practice of the Italian, instead of the vernacular tongue, is adopted as the sole worshippers of Brahmin, is to be burnt upon the pile with the medium of expression-can hardly be denied. A glance at remains of her husband. Nadori, a young priest in the the available répertoire is enough to establish that fact. We temple, however, being enamoured of Amazili, Jessonda's have no longer an Italian Opera, properly so called; and the sister, conspires to save the unfortunate widow. Escaping cause must simply be traced to the dearth of good Italian com- from the temple, he communicates with Tristan, general of posers. Rossini writes no more; Bellini and Donizetti are the Portuguese army, and introduces the enemy into the city dead; and only one remains-Verdi-who, whatever opinions by a secret and subterranean passage. Tristan and his soldiers may be entertained of his talent, has not genius enough to sus-break into the temple, and arrive in time to arrest the sacrifice, tain the school, alone and unsupported, and who, moreover, which is going to take place under the auspices of the High in all his operas, departs from the forms upon which the just Priest Dandau. Jessonda is rescued, and the worshippers of The cere Brahmah are dispersed. Earlier in the drama we are made unnecessary to speak of the famous air of Tristan, "Der aware that Tristan is an old lover of Jessonda, to whom he Kriegeslust ergeben"-in which the Portuguese warrior alterwas devoted, and by whom he was beloved, before she had nately alludes to his battles and amours-since it is one of the been forced by her cruel and avaricious father into a marriage most universally popular songs ever composed for a bass voice. with the deceased Rajah. The opera is divided into three Equally familiar is the lovely duet in A, "Las für ihn den ich acts; but, with such slender materials to work upon, two geliebet," for the two sisters, the air for the tenor (Nadori), in would have been ample. The advantages offered to Spohr in the polacca style, "Dass mich glück mitro sen kröne," and the his treatment of the libretto are in a great measure to be found other duet, for the renegade priest and his mistress, Amazili, in the opportunities of contrasting the grave music of the "Schones madchen, wirst mich hassen," which have been adBrahmins with the military strains of the Portuguese soldiers; mired in the concert-room for more than a quarter of a century. and, again, the music of the priests with that of the Bayadercs, These, with an air for Amazili-which, though happy love is who constitute a prominent feature in the paraphernalia of the the theme, has not much inspired the composer-and a grand pagan worship. Of these he has availed himself with great finale, comprise the chief points of the second act. Notwithskill. Nothing can be lovelier than the melodies sung by the standing the story remains, at the fall of the curtain, almost at dancing girls, which, though always in six-eight measure, are the point where it stood at the rising, the whole is redeemed tinged with a certain melancholy that gives them an indefinable from condemnation by the quantity of beautiful music it concharm; while the martial clang of the orchestra accompanying tains. The action of the finale is a little confused. the bold and rhythmical tunes allotted to the Portuguese monial rites are going on preparatory to the sacrifice of soldiers, at the opening of the second act, carries you far away Jessonda, who has just come from purification in the sacred from the Brahmin creed and all its fanatical horrors, affording fount, when Tristan enters and recognises her. The ancient at once a striking opposition and a grateful relief. Spohr's love revives, and he is resolved to save her. A scene of great usual drawbacks-overwrought harmonies, excessive modu-excitement ensues; the Portuguese and Brahmin soldiers aro lation, and invariable fulness of instrumentation (as though about to engage, when Dandau and the priests interpose, and nothing could be musical unless written in four parts)-are remind Tristan of the late truce, a clause in which stipulates felt in Jessonda, perhaps, less than in other works from his that the Indian women going to and from the fount shall be pen, but still too often and too much. These, however, are unmolested. Tristan, acknowledging that his honour was inseparable from his peculiar style, and were they eschewed he pledged to that effect, goes away in despair, and Jessonda is would no longer be himself. The first act contains some of the left about as well off as if he had never appeared. Had it been finest music in the opera. The overture for the orchestra, and otherwise, however, the poet would not have known how to the introduction (founded on the opening of the overture), make out his third act. Spohr's music, ingenious and masterly describing the funeral ceremonies in honour of the Rajah, in throughout, if not always essentially what is termed "drawhich the dance and chorus of the Bayaderes are mingled with matic," is the best apology that can be offered. Such a melody the solemn invocations of the Brahmin priests, are worthy of as the opening chorus of the Bayaderes (in F) would redeem a any composer. The duet in which Dandau, the high priest, multitude of sins. The introduction to the third act consists enjoins the young Nadori to prepare Jessonda for her fate, is also almost entirely of recitatives. Tristan, with Lopez his friend, an admirable composition. The address of the High Priest to is deploring the approaching fate of Jessonda, when Nadori, Brahmah, accompanied by the subordinate priests in chorus, is who has eluded the vigilance of the Brahmin priests, informs very impressive; and the first air of Jessonda, in which the con- the general that Dandau has broken the truce and sent two of demned widow recounts to Amazili the incident that separated his emissaries to burn the Portuguese ships. All this is someher from her lover, and condemned her to become the wife of what prolix; but a warlike trio, where the three declare they the Rajah, contains many beauties-the agitato movement in Gwill at once proceed and attack the foe, restores the effect in a minor, and the larghetto in a A flat, occasionally recalling the very animated manner. The scene that ensues--including the passionate style of Mozart in some of his vocal music. The invocation of the priests to Brahmah, while the storm is going finale begins with a dance of Bayaderes, who come to announce on without, another beautiful chorus for the Bayaderes, in A to Jessonda that her terrible fate is at hand, rending veils and minor (6-8 measure, as usual), the general consternation when breaking boughs with symbolical significance. The melody the idol is struck down by lightning, and the despair of of this is exquisitely plaintive; and in the accompaniments Jessonda when the Bayaderes reproach her with impiety and Spohr has employed, with beautiful effect, instruments that, taunt her with her coming fate, the whole terminating with from constant abuse, become vulgar in the hands of the majority the widow's frantic appeal to Brahmah for mercy, embodied in of composers. The rest consists of a very elaborate trio, for an aria di bravura, founded on passages in the overture-must Jessonda, Amazili, and Nadori, in which the sister of the be ranked among the best in the opera. The finale-comprisdevoted widow successfully excites the compassion of the young ing the discomfiture of the Brahmins and the rescue of priest and enlists him as their champion. Although there are Jessonda-is very short, but the closing chorus is sufficiently some fine passages in this trio its unusual length goes far to majestic, and makes an imposing climax. destroy its musical and dramatic interest. The whole of the music in the Portuguese camp, (containing recurrences to the introduction of the overture) upon which the curtain draws up in act 2, is picturesque and brilliant; and the curtailment of two of the best pieces-one in D for the orchestra, immediately following the march, the other a chorus in B flat, in which the soldiers invoke the blessings of peace-was to say the least of it, ill-advised. The chorus and dance at arms, in D, with which the martial games conclude, is one of the most spirited and characteristic movements Spohr has written. Not a note in this scene should be omitted, if the general balance of effect signifies anything whatever in a work of art. It is It may be at once stated that great pains have been bestowed by the Covent-garden management in getting up the opera, and, that though in some respects the cast might have been stronger, the whole performance manifested a respect for the name of the composer, and was creditable to the establishment. Jessonda-like Faust, last season-obtained a succès d'estime. Liked and applauded by the connoisseurs and the general audience, it was patiently endured by the habitués of the stalls and grand tier boxes. Nevertheless, to the credit of all, it must be said, that even those who failed to understand and appreciate the music, listened to it with attention, and that no marks of impatience interfered with the execution and enjoyment of a work which has been acknowledged a chef-d'œuvre for upwards of 30 years, and belongs to the classics of the art. As far as the music was concerned, Madame Bosio eminently distinguished herself in the part of Jessonda. She had evidently studied it with zeal and entirely mastered its difficulties. Both the airs were exceedingly well sung. The larghetto movement which concludes the first ("L'alma sciolta dal suo velo") was unanimously encored, and the whole of the last air, "Di fiori pur anco cinto," was heartily applauded, the compliment being richly deserved in both instances. The tragic situation of the last scene, however, demands powers as an actress to which Madame Bosio has little pretension. To do her justice, she attempted nothing, being apparently satisfied to sing the music correctly, without reference to its bearing on the dramatic action. If Madame Bosio could act with as much intelligence and propriety as she can sing, she would indeed be a precious acquisition. Madame Castellan, as Amazili, was all that could have been desired. She gave the only air entrusted to her "O stelle, o terra amena"-with charming expression, and in the duet with Nadori, the trio in the finale of act 1, and all the concerted music, her assistance was of the greatest value. The beautiful duet with Jessonda-"Per colui che tanto amai" as was perfectly sung by both ladies. Signor Lucchesi raised himself considerably in the estimation of the public, by his performance of the principal tenor character of Nadori. His share in the music is arduous and difficult; but he was perfectly at home in every part of it, and was frequently honoured by the warmest marks of approval. The air à la polacca, "Lieta sorte a me sorrida," demands considerable fluency of execution, of which Signor Lucchesi showed that he was master in a highly satisfactory manner. The Tristano d'Alcunha of Signor Belletti was correct, easy, and artistic from first to last. The well-known air, "Di militari onori" (known in England "Amid the battles raging") could hardly have been sung with greater spirit; and in obedience to a general encore, Signor Belletti repeated it from the cantabile. The most unexceptionable performances in the opera, however, was that of the High Priest, Dandau, by Herr Formes. The traditions of the part, both histrionic and musical, are doubtless familiar to the German basso, who must have played it often enough before he came to England. His conception of the character (a kind of pitiless Oroveso) is remarkably picturesque; and his execution although the music does not give him half so many chances of distinction-fine enough to place it on the same line as his Sarastro, in Mozart's Zauberflöte. The solemn priest, with religion in his mouth, and nothing but pride and relentless bigotry in his heart, was never lost sight of. It was a true and striking, though repulsive picture. In such parts Herr Formes has no rival, and it was to be regretted that the sombre air with chorus, "Tu che sei sovra le sfere" ("Der auf morgen abend") in which the High Priest invokes his Deity, was the only one allotted to him. What little Signor Stigelli had to sing, as Lopez, was sung carefully and well, as is usual with this gentleman. Jessonda having originally been composed with recitatives (an innovation which Spohr was the first to make in German opera, and in defence of which he wrote a preface), the trouble of composing new ones, as for Der Freischutz and Faust, was happily uncalled Those in Jessonda show Spohr to be a thorough master of musical declamation. The orchestra was admirable, from the overture to the end; and Mr. Costa took the greatest pains to make everything go smoothly. The chorus was less perfect but that may be remedied on another occasion. The scenery was good, the appointments were appropriate, and the general arrangement of the stage betokened the diligence for. and talent that have marked Mr. Harris's superintendence of these matters throughout the season. All the principal singers were brought before the curtain at the end of the opera. Her Majesty, Prince Albert, and the Royal children were present, and remained until the conclusion. The second performance of Spohr's Jessonda attracted a large audience on Tuesday evening, and the opera was received with more marked and distinguished favour than on the first night. The overture, which was but partially applauded on Saturday, was warmly encored on Tuesday. Madame Bosio's songunanimously encored on Saturday-was encored with equal unanimity on Tuesday; and Signor Belletti's aria was much more loudly bissed on the second than on the first night. Spohr's music is of that kind that must please more by greater familiarity. Its beauties are not superficial. They lie deepnot indeed beyond the vision, but away from a casual glancebut when seen they are well worth the observing. Let no man judge of Spohr's music after a single hearing, especially if his ear be accustomed to the smoothness and rippling flow of Italian melody, or the startling and irresistible effects of the music of the Huguenots and the Prophete. On Thursday, the Huguenots was given for the last time, and the performance will be long remembered by those who had the good fortune to be present, as one of the most splendid and complete ever submitted to the public. It was universally felt and acknowledged that on no former occasion had all the artists been in such excellent voice, and the representation, therefore, from first to last, was a series of brilliant triumphs. As for Grisi, she was in finer voice than we have heard her how exquisitely beautiful is her conception of Valentine, and for years, and sang and acted transcendantly. Need we repeat how far more natural and touching is her acting of the character than other celebrated Valentines, whom it boots not now to name. not witness without some tears, memorial as well as derived At the end of the performance-which we did from the enjoyment of the moment-we could not help exclaiming "There is no singer in the world like Giulietta Grisi!" As for Mario, he was as great as ever-the force of praising Mario's Raoul is equal to any percould no further go. formance ever seen on any stage. Oh! what would the Academie Imperiale de Musique of Paris say to Mario's Raoul? If Mario were to play Raoul at the Academie, he would create a revolution more difficult to suppress than that of the famous three days. What will Yankeeland say to Mario's Raoul? We shall see before many moons. That remains to be seen. Brother Jonathan is no fool, neither is he deaf, nor blind. He can see with two eyes, and can hear with both ears. heard Jenny Lind with both ears, and Alboni with both ears. He will hear Mario with both ears. He As for Formes, his Marcel was grander, more impressive, and more finished than ever. Europe cannot produce the equal of Formes in Marcel. We challenge Europe, and will back our own opinion of the stupendous German basso for more than we are worth-which is saying a great deal. In the magnificent duct in the Pré aux Clercs scene, nothing could be finer or more powerful than Formes' singing. It was a chef-d'œuvre of art. The last scene would have been equally fine had the music been equally good-which it is not. As for Belletti, he was admirable in St. Bris, and sang the music to perfection. Tagliafico also was excellent in Nevers, both as actor and singer, and Messrs. Luigi Mei, Soldi, and Polonini, by their exertions, tended in no small degree to the success of the evening. The last performance stirred them on to do their best. |