would be honest, even to a fault, in recalling our experiences that evening; let no one take offence, since we are all interested to find out the truth. The audience seemed delighted with the feast of ear, and eye, and soul; and, lingering in parties here and there, to take a last look of the scene, the crowds mysteriously melted away through all the forty doors aforesaid. Commonly, three minutes would suffice to empty the main hall of any crowd it could contain. We understand that about 1,000 dollars were realized, over expenses, to go toward an organ fund, THE SACRED CONCERT, on Sunday evening, given by Mme. Sontag and the Handel and Haydn Society, at one and two dollars a seat, completely filled the new hall. The performance was most satisfactory. The Stabat Mater, under the conductorship of Eckert, was never before performed so well, nor heard to such advantage in our city. Mme. Sontag's voice has in none of her concerts told with such effect. In the "Inflammatus" she seemed to surpass herself in style and power of voice, and she was grandly upborne by the chorus. In the "Quis est homo" duet, she was nobly seconded by the rich tones of Miss Lehmann, who also sang the "Fac ut portem" finely. Sig. Pozzolini did justice to the "Cujus animam." Badiali was, as ever, in the "Pro Peccatis;" his ponderous, rich tones, not smiting you as in the Melodeon, but only rounded by the greater space to more appreciable volume. The unaccompanied quartet, "Quando Corpus," was sung in perfect pitch. Mme. Sontag sang “I know that my Redeemer liveth," as so consummate an artist could not help singing it, but with no peculiar loftiness or fervour of expression. MME. SONTAG's FAREWELL, on Tuesday night, again filled the hall to overflowing. So far as we can learn, that concert did away with any unfavourable impressions got at the first rehearsals. The carpet had been taken from the stage, and cane-bottomed chairs substituted for stuffed seats; and though half the choir was invaded by the audience, Mme. Sontag and all her aids were heard perfectly. Her softest tones and finest fioriture (in which she indulged largely, it being one of her ordinary programmes), reached us with distinctness.Dwight's Journal, Nov. 27, 1852. NANTES. (From our own Correspondent). Since I wrote to you, Charles VI. has been repeated with the same perfection of ensemble as on the former occasion. Mons. Flachat is beyond all praise. Madame Hillen vocalized delightfully and Madame Chambon was as perfect in every respect as formerly, and was honoured by bouquets in profusion (an unusual compliment here), from the habitués of the boxes. Le Marriage de Figaro was given on Sunday. Le Cte Almaviva was played remarkably well by Mons. Roche, and the Figaro of Mops. Karl was excellent, the Suzanne of Madlle Victoria was charming, as was the Countess of Madame Derouet; in short this delightful comedy of Baumarchais reminded one of the days when Jones, Fawcett, Mrs. Bradshaw, and Mrs. Wood, played in the same piece at Covent Garden. Last evening Le Barbier de Seville was given. I insert the caste, as it will be interesting to many of your readers to see the whereabouts of their Camarades. Almaviva MM. Fleury. Figaro Flachat. Bazile Bartholo Rosine .......... St. Denis. Berry. Mmes. Hillen. Jobey. Fleury sings as well as ever, and shews his good taste in making his first appearance in a strange town, in the charac◄ ter of the Count, the music of which is peculiarly adapted to his voice, and the applause after the opening air, plainly shewed the favourable impression he had made on the audience. Madame Hillen sang magnificently her share of the music of the opera, and introduced in the singing lesson an air from La Gazza Ladra, which was rapturously received. It is impossible to speak too highly of Mons. Flachat as Figaro; added to his talents as a musician, he is an excellent actor; indeed, I have seen nothing to surpass him-Ronconi excepted-since Tamburini in his best days. Basil and Bartolo were ably sustained by Messrs. St. Denis and Berry, and the chorus was correct and effective. The last act of the opera was omitted, which is usually the case in France (!!!). Mons. Guerin is most fortunate in having secured the services of so good a tenor leger as Fleury, and no doubt this expensive addition to his already excellent troupe will meet with a corresponding profit. HARMONIC UNION. The second concert of this new society took place on Thursday night, in Exeter Hall. The audience was much more numerous than on the first occasion, and the performance in general was more thoroughly appreciated. The unexpected introduction of Handel's "Dead March" from Saul, which preceded the entertainments of the evening, was explained by the following notice : "On account of the sudden decease of Mr. T. Harper, senior, the performance of this evening will commence with the Dead March' in Saul, as a tribute of respect to his memory." It is scarcely necessary to remind our readers of the merits and position of the deceased gentleman, who for nearly forty years was justly regarded as the best trumpet-player in this country, and held the first place during that long period at all the most important musical performances in the metropolis and the provinces. Lately, owing to decaying powers, Mr. Harper resigned his post to his eldest son, except at some few special concerts, where, though he ranked as first trumpet, it devolved upon Mr. T. Harper, jun., to play the solos and more difficult passages. With this understanding Mr. Harper resumed his old place at the concerts of the Harmonic Union; till Wednesday, at the rehearsal, seized with a sudden illness, he was conveyed to his residence, and expired almost immediately. Mr. Harper will be generally regretted; he had acquired his reputation by honourable industry, and coupled with it the respect of all his fellowprofessors. He was, we believe, in his sixty-sixth year. The programme of Thursday night consisted of a miscellaneous selection of vocal and instrumental pieces, exclusively secular, thus carrying out a second clause in the prospectus of the Harmonic Union. There was not one new composition, but, to make amends, there were two new solo performers. One of them, Mr. William Mason, was somewhat foolishly, we think, announced as "the first American pianist who had ever performed before an English audience," -as if the bare fact of nationality, independent of actual merit, was a matter of any importance. Happily, Mr. Mason possesses talent; and though very young, already exhibits promise of excellence. He played the pianoforte part in Weber's Concert Stück with a great deal of spirit; so well, indeed, that we feel confident that he will play it still better when he has acquired a more perfect command of the instrument. It is in mechanism that Mr. Mason is deficient. This deficiency makes him nervous and uncertain, imparts unsteadiness to his accentuation, and robs his passages of clearness. He has, purgis Night of Mendelssohn. The history of Beethoven's nevertheless, a light and elastic touch, and evidently under- music, so long lost in obseurity and so universally popular stands his author. At the conclusion of his performance, since its restoration to the light of day, the analysis of its Mr. Mason was generously applauded by the audience; and plan, and the praise of that genius which could breathe life it is to be hoped that so indulgent a reception will spur him into such inert matter as Kotzebue's Ruins of Athens, do not on to increased exertion. He is the son of the well-known require to be repeated. Nor is there anything new to be said musical lecturer and critic, Mr. Lowel Mason, of New York, of Mendelssohn's cantata, in which the genial influence of a and has pursued his studies at Frankfort. The other new truly poetical subject upon the ardent imagination of a musolo player was Herr Nabich, a member of the private band sician was never more strikingly manifested. The descripof the Duke of Saxe Weimar, who executed a "grand con- tion of the Druids and their interrupted sacrifices, the fantastic certo" (so styled, although it was only a single movement) plan to frighten away their Roman enemies, its success, and on the trombone, the composition of Herr David-of Leipsic, the ultimate celebration of their orisons in peace, as set forth we presume-with orchestral accompaniments. So much has in Goethe's poem, has been given sufficiently often; while been said of this gentleman, that much more was expected of the music of Mendelssohn is happily as familiar to our auhim than he achieved on this occasion. He is, however, a per- diences as it is strange to those of our nearest neighbours former of unquestionable talent; and, in spite of a prevailing across the Channel, who are so proud of their imaginary sumonotony of style, and an occasional flippancy of expression, premacy in all that relates to the arts, and to music in he manages both to surprise and please to surprise by his particular. The performance of Thursday, both of Beethoven's easy command of so cumbersome an instrument, by the clear- and Mendelssohn's music, under the admirable guidance of ness of his articulation, and the stamina of his lungs; to Mr. Benedict, was, on the whole, highly creditable to the please by the mellowness of his tone and the extreme softness new society. The chorus of Dervishes, one of the wildest of his piano. In other points-that of bravura execution, and most original inspirations of Beethoven, was encored, and for example-Herr Nabich did nothing to authorize us deserved the compliment, since it was given with vigour, at present in comparing him with Signor Cioffi, who has point, and clearness. The overture (the weakest of Beetho shown himself so great an adept in that line. The "grand ven's orchestral pieces), and the pompous march and chorus concerto" was greatly applauded, but an attempt to encore in E flat, were equally well executed. In the final chorus, it was opposed. Nevertheless, Herr Nabich, pleased with the" Hail, mighty Master," there was, however, much to desire; manner in which his talents had been appreciated, after the the sopranos were sadly out of tune, and the whole was perintervention of a vocal piece, volunteered to perform "A plexing and unsatisfactory. The vocal solos were sustained small solo of airs of Lucia"-as the gentleman of the com- by Mr. and Mrs. Weiss. The duet of the Greek slaves, in mittee who made the speech somewhat quaintly described it. G minor, and the air with chorus in C, "Deign, great Apollo," This Herr Nabich accomplished, with much applause, with its elaborate accompaniment of horns, are extremely difalthough his first performance was beyond comparison the ficult; the first is one of the most beautiful, the last one of best. the most original, pieces in the Ruins of Athens. Both were carefully sung, and the last as well accompanied as was pos sible, in the absence of the two best horn players of the society. In the Walpurgis Night the vocal solos were sustained by Miss Huddart (a niece of the well-known actress, Mrs. Warner), Mr. Benson, and Mr. Weiss. The contralto solo of the old woman, "Know ye not, a deed so daring," is just suited to Miss Huddart, whose voice, admired two years ago. (at the London Wednesday Concerts) for its depth and rare quality, is beginning to be brought more under the command of its owner. With such natural means, it will be Miss Huddart's own fault if she does not attain rank in her profession. The tenor solos in the Walpurgis Night are not easy, and Mr. Benson deserves credit for the pains he takes to render them effective. A little more variety of tone, judiciously introduced, would place Mr. Weiss's execution of the music of the Arch-Druid the foremost personage in the story-beyond reproach; his voice is admirably well suited to the measured strains in which Mendelssohn has solemnized the Druidical aspirations. With the proviso that the whole of "Disperse, disperse," and the opening of "Come with torches," were too loud, there is little but praise to bestow upon the chorusses. Why the delicate distinctions of light and shade are rarely attained by our choral and instrumental bands, in all other particulars so apt and ready, it would be difficult to explain. Mr. Benedict's conducting, both of the Walpurgis Night and the Ruins of Athens, betrayed as close an acquaintance with the details of the scores as with the separate characteristics of the music of the two masters, in all respects so different. Although more than usually interesting and varied, the programme was not long, the con Madame Fiorentini was set down for the grand scena of Agatha, in Der Freischutz, but, being "seriously indisposed," Mr. Benedict craved the indulgence of the audience, and requested that she might be allowed to substitute one of her popular Spanish airs. Whether the hearty applause she received on appearing in the orchestra suddenly eradicated her indisposition, we cannot undertake to say, but assuredly there was not the slightest trace of it in Madame Fiorentini's singing. So well pleased were the audience, that they unanimously summoned her to repeat the Spanish melody, to which, not being indisposed, she immediately consented. Mr. Henry Leslie's clever and brilliant overture, The Templar, erroneously described in the bills as 66 a new overture," with the charming duet from Spohr's Jessonda, "Fairest Maiden," for Madame Fiorentini and Mr. Benson, completed the second part of the programme, which, containing the only novelties, we have noticed first. Mr. Leslie's overture was performed at one of the concerts of the Amateur Musical Society, last summer, and was much and deservedly praised. On the present occasion, however, with a first-rate professional band, under a conductor of such experience and musical feeling as Mr. Benedict, it had a far better chance of being understood. The performance was really admirable, and must have satisfied the composer, as it pleased the audience, who testified their gratification in the most unequivocal manner. The first part of the concert was devoted to the music which Beethoven composed for the masque of Kotzebue, entitled the Ruins of Athens, for the inauguration of the new theatre at Pesth, consisting of an overture, chorusses, duets, marches, and airs; the third part comprised the First Wal cert terminating before eleven o'clock-a rule to which it would be advisable in future to adhere as much as possible. In the selection of programmes for the secular miscellaneous concerts of the Harmonic Union, it will be advisable in future (the plan of their undertaking considered) to avoid introducing solos, either for voices or for instruments, of a light and trifling character. The prevalence of these small matters leads to the encore system, and if this be encouraged the character of the concerts will soon deteriorate. We take the directors at their word—that they wish to refine the taste of their audiences. Let them, then, bear in mind how easy it is to spoil the best-disposed public in the world by the force of bad example. It would, indeed, be a pity if a society, formed upon such a basis as that described in the prospectus of the Harmonic Union, should, by frequent appeals to the lower order of musical taste, degenerate, however insensibly, into something infinitely below the model designed by its projectors.-Times. THE PRESS AND THE PLAY. (From Punch) Our clever comedian and manager, Mr. Charles Matthews, has an old-standing quarrel with the writer of the theatrical criticisms in the Morning Chronicle. He considers that gentleman has criticised unfairly certain pieces produced at the Lyceum Theatre. Irritated at this, Mr. Charles Matthews (to use his own words) "deprived the paper of its privilege of writing two orders nightly to the theatre." The proprietors of the Morning Chronicle, although thus deprived of their "privilege" of writing orders, manage somehow to pay for the admission of their critic to the theatre. He continues to write criticisms, none the more sympathetic or hearty probably, for the previous passages between him and Mr. Charles Matthews. Boxing night comes, and with it the Christmas pieces. Preeminent among them, as usual, for the brilliancy of its scenery, the taste of its dresses, and the propriety and splendour of its mise en scène, comes The Good Woman in the Wood, at the Lyceum. The critic of the Morning Chronicle writes a notice of it, which, after calling the piece "cold and heavy" (which it is), goes on to describe the scenery as "faded and dingy," (which it is not.) Mr. Charles Matthews reprints this notice conspicuously in his playbills, prefixing to it an account of the previous passages of arms between himself and the Morning Chronicle, in which he names the obnoxious critic, says he has thrown off "the character of an anonymous enemy," calls him " a writer of calumnies," hints that he has no friends, and insinuates that he is not likely to pay for admission to the Lyceum Theatre. If this were a mere quarrel between a manager and a dramatic critic, it would ill become Punch to come between them, especially as he has not any personal sympathy with either of the combatants. But the public, as well as the managers and the press, are all really concerned in the matter; and it is as their friend and adviser that Mr. Punch intrudes into the quarrel, with a few words of comment and suggestion. It seems to him that the mischievous and much-abused system of newspaper orders is at the bottom of this discreditable "Appeal to the Public," about the folly and bad taste of which there can only be one opinion. Mr. Matthews seems to have been entirely led astray by the system. He regards the writing of these orders as a privilege," subjecting the unfortunate critics of the newspapers who receive them to the duty of praising what they see. But this is simply ridiculous. There are newspapers, no doubt, to which the nightly orders are a means of propitiating advertisers -and this, we apprehend, is the only use, besides that of occasionally obliging friends or acquaintances, to which this "privilege" is ever put. In this sense the "privilege" is neither more nor less than the most insignificant and dirty form of a bribe conceivable. But if newspaper proprietors are mean enough to accept such bribuncles, it is very important that the public should be guarded, or at least warned, against the consequences, if the "privilege” of the proprietors is to involve the praise of the critic. Mr. Charles Matthews can hardly have weighed this consequence. If only critics who praise are to be privileged, what becomes of the value of criticism? How can you expect the public to swallow Mr. Flashy's sugary puffs for independent judgments, after yourself telling us that you regard Mr. Flashy as "privileged" only for the purpose of concocting these unwholesome articles? And what do you think of the critics, Mr. Matthews? Are they, as a whole, the style of men to be cajoled into saying what what they do think by the threat of not being allowed to come they don't think by a nightly order, or to be deterred from saying into your theatre for nothing, or even by that still more awful one of not being allowed to pay for admission? Is it such a privilege to be admitted, even for nothing, to your theatre, that I am to sacrifice my eyes, ears, taste, and judgment for it? Am I to be thought so stage-ridden, so enamoured of your own unquestionable powers as an actor, or Mr. Beverley's beautiful scenery, that I will write what I don't think, lest, for telling unpleasant truths, I should be compelled to pay admissionmoney at your doors? Is it I who am so poor a creature as this, or is it my proprietor? Is your privilege a bait to me, or to him? It would be well the Public should be enabled to answer the question, that it may know what its Press is. We say nothing in all this of the particular offence out of which the appeal of Mr. Matthews has arisen. Mr. Matthews is, probably, as much ashamed of it by this time as his friends are. But the reason of it is the important matter. That reason is in the newspaper order system; and the remedy for such things is to abandon that system. Managers are too great cowards to do it, though they groan under it. The best part of the Press can, and ought, to break it down for the sake of their independence, which is incompatible with the order-system as interpreted by Mr. Charles Matthews and other managers who might be mentioned. Let all the respectable journals, daily and weekly, combine to renounce the "privilege" of writing orders, and let them signity as much to the managers. When the respectable journals have once done this, managers will perhaps better appreciate the value of a "privilege" which only the strugglers, sharpers, and outsiders the smallest of the small newspaper fry-will condescend to accept. The public should press this, as far as it can, for it is interested in having criticisms which are in no way influenced by the adver tising profits of newspaper proprietors, or by the temptation of free admissions to the critic, if there be a critic susceptible of such temptation. Managers of theatres should press it, to rid themselves of a nightly influx of non paying, and by no means ornamental visitors to their upper boxes, and to put themselves beyond temptation to commit such an egregious act of bad taste as Mr. Charles Matthews has been guilty of. And the critics are, more than all, interested in getting rid of this "privilege ;" for they would thus recover that proud right of finding fault which no man can exercise freely and fully unless he has paid his money; and which has, unfortunately, been all but utterly renounced by our theatrical Rhadamanthuses. How one longs for a dash of good wholesome bitters now and then, in the eternal dribble of mawkish, sugar-and-watery commonplace, which is called theatrical criticism! Our ancestors had energy to damn pieces they didn't like. We have not vigour to damn anything now, and the worst of it is that the vapid tolerance of the Press has invaded the pit. People who can't stand twaddle, or coarseness, or flatness, stay away from the theatre. If they go, they see these offences tolerated so meekly and uncomplainingly, that they go away with an impression that theatre-goers are not as other men are that their standards of taste are different-that they have learnt to see with other eyes, to hear with other ears; and this is true in a great measure, and mainly for want of a reasonable amount of honest, truth-seeing, truth-speaking criticism of actors and pieces. And just as the sense of his "privilege" may cripple the critic, so it must deaden and kill the audience. Do you think that there is any comparison between the advertiser in the upper boxesadmitted by order-and the public in the pit who have paid their money? How should the former be very anxious about the quality of a thing which costs him nothing-or very free in his judgment of that which he is admitted to see as a favour? We should apologise for the length of this paper-but it really is worth while to speak some truth on the subject of the theatre, because it is an amusement, the love of which is born with us, because it is an art illustrated by a Shakspeare, because its arena has been trodden by Betterton, and Kemble, and Siddons, and Kean, and because it is a haunt of the people, which might be at once their academy of taste, their school of manners, their lecture-room and music-hall, and their gallery of painting and sculpture. Mr. Punch feels a double sympathy: as a street performer, with the managers; as a journalist, with the critics. He considers himself, therefore, to stand in a favourable position to tell both certain truths, which have long needed telling, and which Mr. Albert Smith has been the first public exhibitor bold enough to avow, in a letter in which he announces to newspaper proprietors his intention of abolishing altogether the "privilege" of writing orders to his entertainment of Mont Blanc. Managers, the public, newspaper proprietors, and critics, should be alike obliged to Mr. Albert Smith, for he has done good service to all worthy members of these classes, in thus making the first attack on a degrading, misleading, much-abused, and in every way mischievous stem. TALES OF THE STAGE.. (Continued from page 32.) WRITTEN BY AUNT ANNE. what he considered to be the call of destiny, and investing his The circumstances of Mr. William Thompson's career, detailed In this favourable state of things, it was not long before Mr. Thompson beheld, with a rapture edifying to witness, his own name in the bill for a third robber; but when he was entrusted with a part of a second murderer, with an entire line to speak, and a fearful deed to execute, his delight knew no bounds. What words he had to speak, I had drilled on to his tongue in perfectly pure English, and when delivered with a truly ferocious appropriate action, went off brilliantly. From that propitious night-" Bacon Bill" (as he had been irreverently called) became " Bill Thompson," and, as he progressed in public favour, and private estimation, "Thompson, my boy," a soubriquet only bestowed by the profession upon those fortunate individuals who can lay claim to an equal standing with themselves. DURING the first eighteen years of his life, poor William Thompson had a sorry time of it. At length it happened that the heir who was to be a gentleman left the paternal roof to travel, "see Lunnon and other furrin parts." Some months after Hopeful's departure, the old farmer learnt that the ambitious youth, after squandering away more of his father's substance than years of industry could supply, had finished by marrying a French woman, for whose debts he was at present acquiring the true Parisian accent It soon became evident that "Thompson, my boy," was no fool; in a French prison, from whence he despatched a pathetic appeal to and when by dint of association, practice, and a wonderful his father for relief. The poor old man, ignoring all his foreign anti-faculty for imitation, he overcame his country gait and dialect, pathies, instantly set off for France, to release and reclaim in person he enacted several little parts with decided ability and success. his Prodigal Son. Unhappily, however, the vessel in which he had My poor hero's wardrobe kept pace with his other improvements, embarked was wrecked, and old John Thompson, with every soul and when during the ensuing six months we made the circuit of on board, perished. This intelligence, which deeply afflicted the several towns, Mr. William Thompson grew rapidly into general heart of the grateful drudge, brought his affairs to a crisis, for the favour. 'Tis true he had yet to acquire that peculiar swagger which two remaining sons, without making any effort for their elder bro- is an actor's idea of gentlemanly bearing; yet his manly form, ther's release from prison, only varied their self-constituted heir honest and really handsome face, and ever good-humoured smile, ship, by inflicting on their old father's protegé every possible prepossessed every one so warmly in his favour, that many species of aggression. In sheer self-defence, theretore, the poor cies were overlooked, and many short-comings pardoned. lad proceeded to pack up his conveniently small wardrobe, and With the Prompter, in particular "Thompson, my boy," was an with one golden guinea, and a few shillings in his pocket, turned especial favourite. This most impracticable, and much-abused his back on the "scenes of his youth," and set off on foot to seek person, who is compelled to bear the sins of every one, not forgethis fortune, in pursuance of which, his destiny, as he himself ting his own, with no other relief to his much harrassed feelings, affirmed, led him to the town where we were then performing, than in exercising on such victims as he could safely coerce the and which he entered on the memorable night of Miss Plantagenet small tyrannies he was compelled to bear from other sources, this professionally savage person then was, in addition to his other subjects of irritation, a martyr to the gout, and when he found he could by no means crush the good tempered novice into abject misery by his ill-nature, he condescended to accept small services from him, which grew into actual blessings with the increase of his malady, when the quick-witted and kind-hearted fellow readily acquired and cheerfully performed his really onerous duties for him. Jones's benefit. The announcement of this great event, in placards of every size, shape, and colour, attracted his attention, and determined him, as he had never seen a play in his life, to invest one of his shillings in the indulgence of his curiosity. Up to this point, Mr. Thompson's narration had progressed with tolerable succinctness, but from the moment of his first inhalation of the magic atmosphere of the theatre, the narrator's impressions became, as it seemed, so completely obfuscated, obscured, or dazzled, I know not which, by the strange and bright visions which dawned upon his bewildered senses, that the only clearly defined point on which his mind seemed capable of anchoring, was the image of the "Maid of the Glen," whom he described as a vision hovering between the song of "Sweet Mary of the Vale," and an angel without wings beckoning him on to glory. During his subsequent visits to the theatre, made under an impulse which he found it impossible to resist, he determined to obey, I deficien Thus, in little more than a twelvemonth after Mr. William Thompson's accession to our company, he became a not only useful, but really important member of it; and no small credit did I take to myself for the share my own extensive patronage had in developing this gentleman's talents. How far my protege himself appreciated my exertions in his cause, I leave the reader to determine, by affording him a peep behind the scenes of "The House at Home," as well as abroad. It was such a lovely Saturday afternoon, as thte on which fourteen months before I had encountered Mr. William Thompson swinging on what he was pleased to term "a geat," that I strolled down a shady lane in company with that identical gentleman. In country theatres, Saturday was, at that time, a non-play night, of which holiday the company generally availed themselves by knock ing up some little party of pleasure, when the light-hearted beings laughed, sang, and danced, as joyously as if they were being paid for their exertions, or there were no such thing in the world as toil for the morrow, or an uncertain future for ever before them. On that particular Saturday, Mr. and Mrs. Martin entertained a small select tea-party, where, as the mirth was expected rather to consist in "the feast of reason," than "the flow of the soul," or in other words, the company invited were somewhat slow, they expressed their kind desire that I should consider myself independant of the sober party. "Take a walk in the fields, Annie dear," said Mrs. Martin; " you look pale, child, and the air will do you good; and here's William, who, 1 declare, is as mumchance as if for once in his life he was thinking and looking very much as if it would do him good too. Don't you think so, Mr. Martin ?" To which appeal, her worthy husband raised his eyes dreamily from his book, and, elevating his hands, replied in a sonorous tone, "Bless you, my children," a speech merely suggested by the sight of two young people together, which, by an association of ideas acting upon a very absent mind, always reminded him of a stage finale, and the customary benediction. Escaping somewhat hastily from our old friends rather embarrassing valediction, we set off for our walk; and though our conversation was not at first very animated, yet it became particularly interesting to us both, as it referred to a subject which had lately been often discussed between us, namely, a singular promise my poor mother, on her death-bed, had exacted from me, never to marry any theatrical person under the rank of stage-manager. "But surely, Annie, darling," said poor William, in the course of the aforesaid interesting discussion, and halting at a spot where the trees meeting overhead invited us so distinctly to seat ourselves beneath their shade, that the thing was irresistible; "Surely, Annie, when your mother extorted from you such a promise, she did not mean to exclude all actors, or professional men generally, except such as held that particular office. Remember, Annie, there are many actors in London, who I am told earn twice as much as our stage manager, even though he gets three pounds a week, and a clear benefit. "I don't think it was the amount of salary, Willie," I replied," that my mother considered, so much as the position which a stage-manager's wife occupies. You remember, dear, how much we have both suffered from the tyranny of Mr. Savage, and that all stage-managers are bound to be tyrants, more or less, even as the sparks fly upwards." FOREIGN SCRAPS. PARIS.-Don Giovanni seems to have been a hurried and unfinished performance at the Italiens. This is a pity, since the French have never yet understood this great work; and its failure, on account of the unequal performance, may prevent the repetition of it. Fiorentini, the intelligent, witty feuilletoniste of the Constitutionnel, gives the most exact statement of the difficulty concerts of the Conservatoire at Paris, by mentioning the which attends the getting access (for love or money) to the fact of a distinguished foreign amateur coming to Paris, on purpose to assist at the first of these concerts, receiving, in answer to his demand for admission, the consoling answer (from an influential member of the society) that his request would certainly be attended to, and that in about twenty-four years' time he might make sure of a ticket. The fact is, all the subscription is always full-no more tickets are sold after that; and the only chance of getting admission is by one of the subscribers giving up his ticket. We shall attentively watch the programme of these concerts, and hope that their former neglect of Mendelssohn's symphonies will be amply atoned for by a frequent performance of them now. Madlle. Clauss has had an immense success at Paris, where she gave a concert, on the 11th, at the Salle Herz. All the press, musicians, and amateurs agree in the most unqualified praise of this youthful and captivating artiste. Fiorentini calls her the "spirit of music incarnate," and will have it that she plays Listz's "Paineurs" like Listz himself, which would seem incredible, if we had not had proofs of her decided talent, of her brilliant execution, and, more than all, of her beautiful touch and tone; and the expressive reading which characterises the playing of the charming little, ever-smiling Wilhelmina Clauss, who, by the way, is not going to Russia, as announced, but intends soon to be in London, after a second concert, which she will give at Paris. The Berlin orchestra which performs at the Salle Herz, under the direction of M. V. Elbel, gains great applause for the precision and aplomb with which they execute overtures, symphonies, and valses. M. OBERTHUR AT PARIS.-This excellent artist, both as virtuoso on the harp, and as a composer, has made his entrée into the Parisian "monde musicale," with all the success his eminent talent merits. His first public appearance at the concert of Madlle. Clauss established his reputation at once, and bursts of the most enthusiastic applause frequently M. Oberthur has performed interrupted his performance. at almost all the brilliant soirées given by the "haute monde" of the new empire. "And, what, pray Annie, could your mother think was so particularly desirable in being the wife of a petty tyrant?" "Oh! not that William," I replied, a little foolishly, "but my poor mother had led such a life of it herself, in a subordinate position, that she exacted a promise from me, in the hope (poor soul!) to guard me from the miseries under which she herself had writhed." After a pause, I added, "You know, Willie, it is not very likely, that I, a poor country actress, should ever get a chance of settling well, as the phrase goes, off the stage; is it so very presumptuous in me, therefore, to hope that I may one day marry a man whose position" would shield me from some of its evils-on it ?" "Presumptuous Annie," replied William warmly, "I don't know any manager, or indeed, any one else, half good enough for you; certainly not a poor clown like me; yet, oh, Annie, I do love you so dearly, you are the very star of my life and the light of my heart, I think. Ann, dear, darling Ann, would not a prompter do? Just for the present you know, till I had more experience, I am quite sure I should get such a situation for "Hush, William," I interrupted, are both too young to think of marrying yet; you have my promise, and with that you must be content," and so must my readers, for I have no intention of inflicting upon them any more of a scene which must be, like all other love scenes, entirely uninteresting to every one except the parties immediately concerned. (To be continued.) we At Weimar used to be one side of the theatre called the "noble side." No one but a nobleman or officer (the rank of officer being equal to noble birth) were allowed to take their seats there. "All" Burgers," however rich or aspiring, sanctorum" of silly pride of caste. were studiously and forcibly kept away from this "sanctum Since the revolution, however, the law has been abolished, but not the awe with which the untitled regard that side, whither they do not venture, notwithstanding the permission now, fearing the sneers and those thousand indescribable slights which unreasonable prejudice would treat them with. MARIA DORIA. This celebrated cantatrice, who sings with the same facility soprano and contraalto parts, having an immense compass of voice, will appear, for the first time, at Mr. Allcroft's concert, Maria Doria is, we believe, a Hungarian by birth, and was prima-donna at the theatre at Pesth, |