en the expression of "Vierge au bois chenu" ("Virgin of the hoary wood,") which seemed to divert the public vastly. Yet this, like certain other expressions, is borrowed from old and naïve legends, which it is always as well to turn to account, if we would give a modern piece a more ancient and not unbecoming character. Some subjects, however. are well adapted for a play and for music, and some are suited to neither. I am much inclined to believe that Jeanne d'Arc belongs to the latter. His tory, after becoming legendary, clashes. immediately we would place it on the stage, with material obstacles of such a kind that it is nearly impossible to surmount them. The task becomes still more difficult with a character, like Jeanne d'Arc, surrounded by an aureola of popular admiration. The living representation of such a character will always appear very imperfect to superior minds, and very wearisome in its serenity to less delicate auditors.

I have not heard Roland d Roncevaux, and regret the fact from only one point of view-I should have great difficulty in expatiating on the relative merits of two works comparable only with each other. My regret, however, is perhaps superfluous, for M. Mermet's music scarcely seems to lend itself to a deliberate study, and still less to long aesthetical considerations, which, doubtless, would strike the author as highly singular. It pleases or it does not please; it seems deliciously soothing to some ears, and extremely boisterous to others, and there is an end of the matter. The composer entertains very strong convictions, on which he makes no concessions; but those convictions are altogether peaceable. The best opera, in his eyes, must be the opera in which the musician, freed from all vain pre-occupation about ideas, sentiment, or expression, has been best able to scatter about, according to his fancy, a number of couplets, gay or sorrowful, a few village refrains, and a host of warlike marches, with fine specimens of unison, sustained by violent blows on the big drum and strident outbursts of the cymbals. Among the composers of to-day, some sacrifice expression to purely singing melody; others are, above all things, anxious for truthfulness of ex pression; and others, lastly, devote all they know to the work of the orchestra. I have certainly heard Jeanne d'Arc, but I should be puzzled to say what the author prefers, or for which musical element he cares most; it is, perhaps, the human voice, but he spares it very little for one who expects such great services from it.

The first act contains a chorus of village maidens similar to every other chorus of village maidens; a chorus of soldiers similar to every other chorus of soldiers; a ballad and a captain's air similar to numerous other ballads and captain's airs; and, lastly, a quartet, identical with many other quartets, in which the personages, animated by the most different sentiments, express them by the same melody, which does not render exactly a single one; it is the triumph of expressionless music. The following duet between Jeanne and Gaston offers nothing particularly striking; and then, in the romance, when Jeanne bids farewell to her village, I perceive only how much presence of mind this young girl, with her feelings worked up to so high a pitch by her country's misfortunes, must possess, to indulge in such surprising vocal contrasts. The finale of Celestial Voices is, of course, constructed with the voices of the chorus above the stage, who begin by alternating with Jeanne, and end by singing with her; the contrary would have astonished me. I do not see much to mention in the second act; some rather insipid compliments of the King's or some instances of vocal coquetry on the part of Agnès Sorel, imitating the call of the clarion by a fine roulade; I am not sure which to prefer, the Dau phin's drinking song, the village air of Agnès, or the refrain of the Minstrels, but I do not much ap

scope for something gay and full of color; he has only half succeeded. The grand orgy-chorus: "Friends, let us carouse!" ("Amis, faisons ripaille !") possesses tolerable spirit and dash; but the song of the Armagnacs-wbere we hear a good deal about sack, for the sake of the rhyme-is not overpowering. In the grand pas d'action of the ballet there is a long and somewhat difficult solo for the horn; though not very new, it is not unwelcome. Jeanne's address, calling the soldiers to reason, is sufficiently energetic. As for the final canticle, built up on the theme of the "Veni, Creator," first sung by Jeanne, and then repeated by all the voices of the men, women, and children, supported by all the wood and brass, it necessarily produces a powerful effect of sonority. The first tableau of the last act is very short, for it contains simply a chorus of English soldiers carousing in contrast with the sacred chants of the French at a distance, and then a few words pronounced by Jeanne over the corpse of the unfortunate Gaston, who entertained for her so pure a love. The great scene of the Cathedral, also, is subdivided into two parts: agrand march, executed by the orchestra and the organ-certainly longer than the march in Le Prophéte- and followed by a chorus of the people singing one of the Songs of Solomon, and then the oath taken by the King in the presence of God, the People, and the Church. The demands addressed to the King by Jeanne, and her last hesitating scruples, are treated very curtly, so as to bring about, as rapidly as possible, the grand final Hosanna in honor of Jeanne, of France, and of Heaven.

Malle. Krauss supports, without bending under it, the whole weight of the opera, which is summed up in a single part, a part not always easy to sing, and demanding an immense expenditure of vocal power. But, when calculating the time she must have spent, and the pains she must have taken, to learn and create the character, we are seized with regret that she did not rather employ her zeal and talent on one, such as Armida or Julia, really worthy of her. This did not, it is true, depend upon her, but she grew strangely enamored of a character which might cost her dear, if she had to sing it frequently with the energy and exertion she exhib ited at the grand rehearsal and on the first night; it is now tolerably certain that, in the natural course of events, she will escape the danger. M. Faure and M. Manoury are both up in the part of the King, and have sung it alternately. The latter gen. tleman renders it merely in an agreeable and satisfactory manner; he does not invest it with the elegance and distinction imparted to it by M. Faure, who is a master of his audience as well as of his voice, and manages both equally well. The character, however, does not possess more importance than the subordinate characters of Agnès Sorel, Richard, Gaston, and Master Jean. But for M. Faure's interpretation of it, it would not stand out more strongly. For Mdlle. Daran, MM. Gailhard, Salomon, and Caron, all actors of merit, who do not spare themselves, strive in vain to work their respective personages into the first rank; the author has certainly no ground of complaint against them, but the converse could not be asserted with equal truth.

After giving my opinion of the author and the artists, I have now to award M. Halanzier his due share of praise. This is not the smallest, for, as I said when I commenced, he resolved to get up, with almost royal magnificence, the first new opera produced in the new Operahouse. The scenery is most beautiful. The village green at Domremy, the terrace in the park at Chinon, commanding the valley of the Vienne, the dismantled boulevard under the walls of Orleans, the Cathedral of Rheims, and, above all, the camp below Blois at sunrise, with the Loire stretching out into the distance till it is lost to sight, are pictures painted by real masters. The

Church Music in New York.

[From the Tribune, April 29,]

UNUSUAL CHANGES IN CHOIRS-HARD TIMES AND DESIRE FOR LESS ELABORATE MUSIC THE CAUSES -CONTESTS FOR VACANT POSITIONSPRESENT MEMBERSHIP OF THE

CHOIRS.

Probably at no time since New York became the centre of high salaries in church choirs have there been so many changes as there will be during the year beginning, May 1. It is a matter of very little difficulty to determine the reason for the falling off of musical appropriation, and the consequent changes in the membership of choirs. The primary cause is the "hard times." Again, the arguments in favor of volunteer or congregational singing have determined several churches to dispense with a quartet of salaried singers altogether. These causes have thrown out of employment a large number of singers, including many of the favorites, who have given up their situations rather than submit to a reduction of salary. But their places have been, to a great extent, filled with new singers, or those whose lack of reputation makes it politic to accept such salaries as may be offered, and the consequence is that many singers who have been prominently before the church-going public have been obliged at the last minute to accept much lower salaries than heretofore or leave their positions.

Although a few committees are yet holding out, in the hope of securing a Titiens or a Mario at the low figures induced by the large supply, the inajority of the positions are now filled, and the sound of

the musical "trot" has cease. As an illustration of the Music Committee's work, take the "trots" which have just broken up at the Rev. Dr. Chapin's Church, at Fifth-ave. and Forty-fifth-st., and to which the greatest publicity has been given. The position of soprano, made vacant by the engagement at the Broadway Tabernacle of Miss Thursby, was eagerly sought, and about 50 singers succeeded in obtaining the opportunity for a practical trial in the church. The announcement of the first evening's test was answered by a crowded house, and when the request was made that all those desiring to take part in the contest should remove from the body to the gallery of the church, nearly the entire congregation arose, and with rolls of music marched to the rapid beatings of their own hearts to the seats above. For three hours the panorama of sopranos passed over the musical disk with one enervated organist and two alternating blow boys in the background. appeared to be the favorite selection, and when it Angels ever bright and fair" came to the words, “take, O take me," which were delivered with all the pathos demanded by the text, it appeared a direct and touching appeal to the hearts and pockets of the committee. Soon after 11 p.m. a fresh orchestra was substituted, and it was uearly midnight before the contest was adjourned until another evening.

The expenditures for church music, for this year, have been reduced, as a general rule, one-third, and in many cases one-half, from last year's schedule. Whether this reduction is to be a permanent thing remains to be seen. The result will be watched with much interest by those whose principal revenue is thus curtailed. The number of such persons is very great. At Mr. Wardwell's agency, the applicants for situations reached nearly 200, sufficient to supply 50 churches with choirs; and a single advertisement for tenors and basses was responded to by about 130 persons. The general reduction of salaries, with the introduction of less elaborate music, has not been accomplished without more or less internal strife. In large congregations there appears always to be a difference of opinion on the question of church music, and it is stated that the present move for low prices, with the consequent selection

tor, are exceedingly rich, and the armor is in no way inferior. I was especially charmed with the fantastic habiliments of the King of the Truands and his escort, which M. Lacoste inust have cut out

The tableau of the camp afforded M. Mermet full

ADOLPHE JUllien.

been brought about without much debate. In one church where the question came up the young members, finding they were about to lose their choir, swept the board of the Music Committee, the members of which had served for years, and formed a unanimous committee to sustain the musical prestige of the church. The majority of changes from choir to congregational singing and the adoption of the volunteer system are made in the Presbyterian, Baptist, and churches other than Protestant Episcopal. In the latter, while the reduction of salaries has been effected, music plays too important a part to admit of a precentor unaided except by the congregation. The principal choir changes are as follows:

IN PROTESTANT EPISCOPAL CHURCHES.

At Trinity Church the changes have been very few, it being the policy of the corporation to make them as seldom as possible. The style of the music and the manner in which it is presented will be altered in no material points. Arthur H. Messiter, as heretofore, will be the organist and musical director, with Henry Carter as associate organist. The choir comprises 15 treble, 5 alto, 6 tenor, and 5 bass voices.

At St. Paul's Chapel at Broadway and Vesey-st., the music is rendered by a double quartet of mixed voices. This is a departure from the usual arrangement of voices in the Trinity Chapels, being the only place where a chancel choir is not employed. The choir is as follows: Decani-Soprano, Rebecca S. Cook; contralto, Cecilia A. Kemble; tenor, George Oswald O'Reilly; bass, John Palmer. Cantores-Soprano, Sabrina Doro; contralto, Orella D. Martin; tenor, Charles Forster; bass, Edward Norris.

At St. John's Chapel, in Varick-st., the death of Charles Edward Horsley left vacant the position of organist, which is now filled by Geo. F. Lejeune, formerly organist of the Anthon Memorial Church in West Forty-eighth-st. In the interval preceding the selection of Mr. Lejeune the position was filled by F. W. Thursch of Trinity Church choir, a pupil

of Mr. Messiter. The music will be of the same character as heretofore, the strength of the choir remaining about the same.

Walter B. Gilbert is still retained as organist and director of music at Trinity Chapel, in Fifth-st., near Broadway, and there is nothing to note in regard to any change in the musical services.

After two years absence at the Church of the Holy Trinity, Samuel P. Warren returns to Grace Church, and it is the intention to make the music a prominent feature of the services, as under his former leadership. From the choir at the Holy Trinity he brings Mr. Sohst, and the position of soprano, which during the past year has been successively filled by Mrs. Ketcham and Mme. Brignoli, has been secured by Miss Hubbell. The choir is as follows: Soprano, Miss Ida Hubbell; contralto, Miss Anna Drasdil; tenor, Geo. Simpson; bass, Adolph Sohst.

Rosburgh; contralto, Mrs. Russell; tenor, Frank Guild; bass, F. Neilson (or substitute); organist, Mr. Fitzsimmons.

The choir of Calvary Church, at Fourth-ave, and Twenty-first-st., is so seldom in want of a member that when the position of soprano became vacant this Spring there was an eager company desirous of filling it. Miss Wood from the Church of the Atonement was the fortunate candidate. With this exception, the members remain the same as for many years past, as follows: Soprano, Miss Sarah Wood; contralto, Mrs. Payne; tenor, Mr. Thatcher; bass, Mr. Bostwick; organist, Joseph Mosenthal. Two new voices have come into the choir at St. Thomas's Church, at Fifty-third-st. and Fifth-ave., Miss Lehmann and Mr. Wilkie retiring. The latter will probably go to Chicago. Mr. Nichols, his successor, was for a few months tenor in the choir at the Church of the Holy Trinity. George Wm. Warren retains the leadership, and will have the usual double chorus in connection with the quartet, the membership of which is as follows: Soprano, Mrs. Gulager; contralto, Miss Wynant; tenor, Chas. Nichols; bass, Thos. P. Wickes; organist, Geo. Wm. Warren.

of the season. Her place at St. Stephen's has been filled by several applicants, who come and go from month to month. The contralto is Miss A. Munier, the tenor Mr. Telle, and the bass Sig. Bacelli.

At St. Peter's Church in Barclay-st., the regular choir consists of a quarte although on church holidays an orchestra and a female chorus connected with the society lend their aid. At present, the position of tenor is vacant, and may not be filled until Fall. The membership is as follows: Soprano, Mrs. Louisa M. Easton; contralto, Mrs. Joseph Ford; tenor, [vacant]; bass, Matthew J. Standt; organist, Wm. F. Pecher.

The choir of St. Patrick's Cathedral, at Mott and Prince sts, also has the aid of a volunteer musical organization on festival occasions. The music is under the direction of Gustavus Schmitz. The choir, which remains unchanged with the exception of contralto, is as follows: Soprano, Mile. Bredelii; contralto, Madame Unger; tenor, Hermann Bersin; bass, C. F. Urchs; organist, Gustavus Schmitz.

At St. Ann's Church, at No. 112 East Twelfth-st., the choir is made up as follows: Soprano, Miss Corradi; contralto, Miss Octavia Gomien; tenor, Mr. Romeyn; bass, A. C. Blum; organist, L. Dachauer.

The choir of the Church of the Nativity, at No. 46 Second-ave., is as follows: Soprano, Miss F. Rokohl; contralto, Madame F. Levy; tenor, A. Dehnhoff; bass, Mr. H. Hadden; organist, Henry Greiner.

At the Church of the Epiphany, at No. 373 Secondave., the choir has the following members: Soprano, Mrs. Treadway; contralto, not to be filled; tenor, Mr. Wiegand; bass, Mr. Hoffman; organist, Frederick Davis.

CHURCHES OF OTHER DENOMINATIONS. The choir of the Broadway Tabernacle has been com.

Owing to a reduction in the salaries of the members of the choir of St. Bartholomew's Church, at Madison-ave. and East Forty-fourth-st., it was thought at one time that there would be a change pletely remodeled. Formerly, under the direction of G. in the principal quartet; but this is not the case, as all the solo singers remain. The quartet comprises: Soprano, Mrs. Imogene Brown; contralto, Mrs. Anna Buckley-Hills; tenor, H. A. Bischoff; bass, Franz Remmertz. Mr. Carl Walters, Gen. Dodge's former assistant at the organ, goes to the Church of the Incarnation, at Madison ave. and Thirtyfifth-st.

The choir of St. Stephen's Church, in West Fortysixth-st., is composed as follows: Soprano, Miss Georgie Blackman; contralto, Miss Julia Long; tenor, R. P. Graham; bass, S. Thompson; organist, J. P. Jardine.

The membership of the choir of St. Clement's Church, in West Third-st-, will be as follows: Soprano, Miss Annie Graham; contralto, Miss Susie England; tenor, Benj. C. Nash; bass, C. C. Williams; organist, G. J. Tattam.

At St. Ann's Church, on Eighteenth-st., near largely composed of members of the congregation, under the direction of James Maclaury, organist.

At the Church of the Incarnation, at Madison-ave. and Thirty-fifth-st., an entire change has taken place, not so much from economy, it is intimated, as a desire for less elaborate music. The church has been prominent among those making music a specialty, and the present experiment is to be tried in answer to a request from those of the congrega tion desiring less ambition in the organ loft. The choir is as follows: Soprano, Miss Harding; contralto, Miss Metler; tenor, Mr. Harvey; bass, F.G. Bourne; organist, Carl Walters.

At St. Mark's Church, at Stuyvesant-st. and Second-ave., during the coming year, the music will be rendered by a double quartet, under the direction of the organist, Mr. Beames. Dr. Hills, whose name appears as tenor in the first quartet, will join, in a few weeks, the choir at the Dutch Reformed Church at Fifth-ave. and Forty-eighth-st. The membership of the choir is as follows: First quartet-Soprano, Madame Dowland; contralto, Miss Jennie Dickerson; tenor, Dr. Arthur T. Hills; bass, Otto D. Lehman. Second quartet-Soprano, Miss Rachel Samuels; contralto, Miss Gertie Emanuel; tenor, Col. Ward; bass, Horace Howland; organist, William E. Beames.

There has been a complete revolution at the Church of the Atonement, at Madison-ave. and Twenty-eighth-st. Miss Rosburgh comes from Mr. Bristow's choir at Zion Church, and the contralto and tenor from the Church of the Incarnation. The choir is made up as follows: Soprano, Miss Ida

At St. George's Church, at Rutherford-place and East Sixteenth-st., Dr. S. Austen Pearce will succeed W. F. Williams as organist. Under the latter's direction, the music was rendered by a chancel choir, from which the organization known as the Young Apollo Club was made up. It is understood to be Mr. William's intention to travel with the club. Dr. Pearce will change the character of the music by forming a mixed volunteer chorus of about 50 voices. A limited number of these singers may receive a nominal salary, although no pretense in this direction is made. The music will be principally choral in its nature, with very little solo singing.

Zion Church, at Thirty-eighth-st. and Madisonave., changes the number of singers in its choir from four to eight. The old quartet is scattered, Mrs. Anderson (Mis3 Barron) alone remaining. Mr. Bristow, as organist, still retains the leadership.

The Church of the Holy Saviour, on Twenty-fifthst., between Madison and Fourth-aves., retains the present choir as follows: Soprano, Miss L. C. Thompson; contralto, Miss J. C. Smith; tenor, Mr. H. A. Maas; bass, Mr. G. P. Warner; organist, Miss A. F. Lehman.

THE ROMAN CATHOLIC CHURCHES.

The changes for the coming year will be very much less marked in the Roman Catholic Churches than in others. The membership of the principal choirs, as a general thing, will remain the same, while the appropriations for music are also unchanged. The majority of these churches make their singers' contracts from month to month. St. Peter's Church and the Church of the Nativity are exceptions to this rule. Several have volunteer choirs, among which may be mentioned the Church of the Transfiguration, at Mott and Park-sts.; St. Bridget's Church, at Avenue B and Eighth-st.; St. Gabriel's Church, at No. 312 East Thirty-seventh-st.; Church of the Immaculate Conception, at No. 505 East Fourteenth-st., and St. Paul's Church, in West Fif

teenth-st.

H. L. Danforth, the organist, retains the leadership of the music at St. Stephen's Church in East Twenty-eighthst. Madame Brignoli, the soprano during a portion of last year, was a member of Grace Church choir the last

G. Rockwood, the music was rendered by a double quartet, of which Miss Finch is the only remaining member. When it was found that Miss Beebe could not be secured to fill the quartet of English glee singers, Miss Thursby was offered the position. Miss Thursby receives $3,000 for her services at the Tabernacle the coming year, besides the necessary hotel accommodations on Sunday, and a carriage to and from Williamsburgh. The full choir is as follows: Soprano, Miss Emma C. Thursby; contralto, Miss Louise Finch; tenor, J. R. Nilsen; bass, George E. Aiken; organist, Mrs. Christopher.

Two changes have occurred in the choir of the Collegiate Reformed Dutch Church, at Fifth-ave. and Fortyeighth-st, Miss Brainard and Mr. Kamping being succeeded by Miss Tallman and Mr. Hills. The quartet will be as follows: Soprano, Miss Mary Tallman; contralto, Mrs. Harvey Mitchell; tenor, Arthur Hills; bass, Henry Schwicardi; organist, Myron A. Ward.

At the Church of the Covenant, at Park-ave. and Thirty-fifth-st., with the exception of the contralto, there has been a complete change in the choir. The soprano of last year, Miss Hall, was the successful candidate at the contest at Dr. Chapin's. Messrs. Rockwood and Lumbard are old members of the Broadway Tabernacle choir. Mr. Grant, the organist, goes to the Swedenborgian Church on Thirty-fifth-st., between Park and Lexington aves. Last season the organ was removed from the rear of the church to a position back of the minister. The change is said to have been one unfavorable to the singers, as the arrangement does not allow a distinct hearing of the instrument, making it a matter of same difficulty to keep the key. The choir is as follows: Soprano, Miss Kate E. Stark; contralto, Miss Louise H. Kemlo; tenor, Geo. G. Rockwood; bass, Jules Lumbard; organist, Freeman Gedney.

At the West Presbyterian Church, on Forty-second-st., between Fifth and Sixth-aves. the quartet remains the same as last year, with the exception of the contralto, who comes from the Swedenborgian Church choir. The membership is as follows: Soprano, Miss Henrietta Beebe; contralto, Miss Lizzie Foster; tenor, Theodore Toedt; bass, Reinhold L. Herman; organist, P. A. Schnecker.

The choir of All Souls' Church, at Fourth-ave. and Twentieth-st., is as follows: Soprano, Miss C. A. Hewlett; contralto, Miss E. A. Davis; tenor, N. B. Wood; bass, A. E. Stoddard; organist, C. E. Daniels.

At the Brick Church, at Fifth-ave. and Thirty seventhst., the choir of last year will remain, as follows: Soprano, Mrs. Danforth [Miss Hamlin]; contralto, Miss Mary Jewett; tenor, Mr. Vail; bass, Mr. Danforth; organist, Caryl Florio.

At the Tabernacle Baptist Church, on Second-ave., between Tenth and Eleventh-sts., a volunteer choir, made up of the members of the congregation, will take the place of the quartet.

The Rev. Dr. Armitage's Church, at Fifth-ave, and Forty-sixth-st., retains last year's choir, as follows: Soprano. Miss Mary Adams; contralto, Miss Crane; tenor, George B. Eddy; bass, E. Gilbert; organist, T.

Mann.

With the exception of soprano, the choir at the Rev. Dr. Booth's church, at University-place and Tenth-st., remains the same as last year. As now organized it includes: Soprano, Mrs. Smith [Miss Wheeler]; contralto, Miss S. M. Gordon; tenor, David Simms; bass, Alfred May; organist, William Smith.

The quartet choir of the Church of the Messiah, at Park-ave. and Thirty-fourth-st.. was broken up in January, since which time the music has been led by a soprano and bass. It is the intention to have, during the coming year, either a precentor or volunteer chorus, probably the latter.

well as a plenty of spoken dialogue. The English version is by Chorley, made since the death of Mendelssohn, who kept the offering sacred and refused to make it public. The music is of a fresh, simple, delicate and graceful character, thoroughly musician-like, and always genial and imaginative; Dramatically it is not exciting, but it is interesting to an unsophisticated taste. Its tone is pure and innocent, mingled with some clever drollery, and it

prevented its fulfilment. She was for the third time secured for the San Carlo, Naples, for the season of 1870'71. After three years more of uninterrupted success throughout Italy, she made an extended tour abroad, and but recently arrived from Mexico. Signor Tito Palmieri, the tenor, has been connected with the company at Les Italiens, Paris, where he sang with the famous Opera Company, London, where he sang with Mlle. TitiMme. Penco, and also with Mapleson's Grand Italian

ens and other great artists.

Óf other members we shall speak in course. As

it with Cherubini's "Water Carrier," which doubtless the young Felix knew and admired.

The performers were amateurs and volunteering artists, Mr. B. J. LANG conducting, under whose direction the performance had been most carefully prepared, so that the representation of the work, both musically and scenically, was complete. The graceful Overture, in the first theme of which Mendelssohn said he made his filial bow before his parents, was finely played on two pianos by Mr. Lang, assisted by Mr. PARKER, Mr. LEONHARD and Mr. SUMNER. The Soprano part (Lisbeth) was sung and acted with exquisite vivacity and grace by Miss CLARA DORIA. The sad and anxious part of the

as we know Miss Phillipps was herself, that it was found impracticable to bring out several of Rossini's operas, besides the Semiramide,—say Cenerentola and П Conte Ory. As it was, Norma was performed on Monday, in which Signora Palmieri established her claim; Semiramide on Tuesday, which was the occasion for the younger Miss Phillipps; La Favorita evening, two acts of Semiramide and two of the Faon Wednesday; Il Trovatore Thursday; on Friday vorita; and Semiramide again for the Matinée of Saturday.

We were only able to be present twice; first to witness the truly powerful and admirable singing and acting of Adelaide Phillipps in La Favorita.

tralto of a remarkably rich, pure and sweet quality, particularly powerful in the highest and lowest tones, but all well developed, and having the charm of perfect freshness. She evidently has sought' instruction earnestly and con amore, and identifies herself completely with her part and with its music, which very seldom finds a better singer. A cultivated ear and taste need ask no surer pleasure

than to hear the contralto music in Rossini's operas so charmingly interpreted. M. GASTON GOTTSCHALK, in the part of Assur showed himself the possessor of a powerful and well trained baritone voice, and sang and acted like an artist, though he has not the old art of rendering the frequent fioriture with dis

whose sweet, rich and expressive voice was heard to fine advantage in the opening Romance, and in the duet and trios later. Mr. NATHANIEL CHILDS

sang the tenor part (the son and stranger, Hermann) very sweetly and showed experience in acting. To Dr. BULLARD was assigned the comic part of the pedlar, Kauz, who did it admirably, particularly his largo al factotum song: "1 am a roamer bold and gay." Mr, WM. F. APTHORP was capitally made up for the respectable old German Mayor, and sang his one note in the Trio doubtless quite as well as the composer's brother-in-law, the painter Hensel, for whom the part was written. There was also a watchman (Martin) who does not sing, but adds to the picturesqueness of the situation (Mr. T. R. SULLIVAN). But the most captivating picture was the last scene, where the festive chorus came in, in gay

village costumes; their singing too was very musical and satisfactory. Altogether the performance was a great success; the only drawback being, we surmise, that most of the company found so much of spoken dialogue a little "slow." The accompaniments were beautifully played by Mr. Lang, Mr. Leonhard assisting him again in the interlude ("Night and Morning.")

A Week of Italian Opera. We have had no better operatic combination here during the past season, than that of which we be lieve Miss ADELAIDE PHILLIPPs was the prime mover, and which gave six performances last week at the Boston Theatre. This enterprise on the part of Miss Phillipps was prompted in a great measure by her strong desire to further the artistic career of her younger sister, Miss MATHILDE PHILLIPPS, in whose education here and abroad she has taken so

deep an interest, and of whose successes on the lyric stage in Europe we have heard so much. Sharing the honors with these sisters was the prima

donna soprano of the troupe, a star of consequence elsewhere, but now greeted here for the first time, Signora MARIA PALMIERI, of whom, and of her husband, also of this troupe, we read:

She was born in London, but although English by birth is as thoroughly an Italian artist as any danghter of that sunny land. At an early age she was sent to Italy and placed under the tuition of the most eminent

masters. She made her debut at Leghorn during the Carnival of 1862-63, and at once achieved brilliant success. In the autumn of 1863 she was engaged for La Scala, at Milan, where she created an immense furore as Lucia, and was at once re-engaged for the ensuing Car, nival season. From thence she went to Genoa, TurinFlorence, Trieste, Palermo, Brussels and Venice, meeting everywhere with extraordinary success. Just prior to the late war in France, she had entered into an en

gagement for three years, with M. Bagier, of the Theatre des Italiens, Paris; but the breaking out of hostilities

seemed to us barbarous and coarse, with the exception of some pieces in the latter part. Much of it sounds empty, commonplace and thin. Sitting at the noisy end of the extended orchestra, and very near, much of it seemed to us ambitious trombone solo with very thin accompaniment. But the work is dramatically constructed and gives fine opportu nity for impassioned song and action on the part of Leonora, and the tenor and the baritone, all of which were well filled, the first we might almost say superlatively. Miss Phillipps, in spite of some loss

of freshness in her upper tones and now and then slight faultiness of intonation, sang superbly, and threw great intensity of feeling, both of the tender and the proud sort, into her voice and whole impersonation of the character, producing an impression which continually deepened to the end. Mr. TOM KARL lacked only more reserved force for Fer nando; he sang very sweetly, in a refined and tasteful style, and exerted himself earnestly and not un

successfully in action as well as in the rendering of the music. We had much pleasure in hearing for the first time (though he has sung here once before this winter) Sig. TAGLIAPIETRA, the refined and graceful representative of the King. We have heard baritone voices of richer quality; but his is pleasing and effective, and evidently highly cultivated; he sings with true expression, in a chaste and earnest manner. The basso, Sig. BACELLO, sings moderately well, but gave but a tame conception of the stern old monk.

After the modern operas, so declamatory and straining for effect, the Favoritas, Trovatores, and the like, it was refreshing to hear again, after a long silence, even a half only of the melodious, sumptuous, stately music of Semiramide; perhaps the half was better than the whole would have been, for such extremely florid melody soon cloys. Yet this is music! It is full of melodious ideas, full of sparkling invention, exquisite and even expressive in its perpetual embellishment, its subtle fioriture, always dignified and regal, if barbaric, Oriental in its tone, and rising now and then to real grandeur and almost sublimity. In harmony likewise, not less than melody, and in rich and vivid instrumentation it is a masterwork of the peculiar Rossini genius. As both the orchestra and chorus were respectable (under the firm and quiet conductorship of Sig. ToMASI) and the performance altogether of an even excellence, we confess to having for that hour or more recalled with real pleasure those old strains which haunted us in younger days,-music worthy of its theme, all gold and purple,-luxury and pomp and pride.

priest, were acceptably filled by Sig. Palmieri and Sig. Bacini.

The first and last acts of La Favorita followed; after Rossini! Miss PHILLIPPS even surpassed her and how coarse and common did that music sound former effort in the last scene.-The Opera won much praise, we fear, more praise than pay.

Concerts.

We have barely room to allude to a few concerts of interest, which we had intended to notice before.

Mr. JOHN ORTH, a young American of German

parentage (originally from New Bedford), returned about a year ago from Germany after six years of earnest study. He is now one of the principal piano (April 26) at the new hall of the Y. M. C. Union, teachers in the Boston Conservatory. His matinée gave fine proof of the wide range, the intellectuality and thoroughhess of his studies. He played, first, from Bach: the poetic, graceful Prelude and Fugue chord, and the great Organ Toccata in D minor, in in C-sharp minor from the Well-tempered Clavia remarkably full transcription by Tausig. Firmness, accuracy and clearness characterized his rendering, rather than fine sentiment or light and shade. The touch was strong and hard. But in a group of smaller modern pieces there was more of grace and finesse in his interpretations. These were: Prelude, E minor, op. 72, Raff; Gavotte, by Silas; Concert Etude, Kullak; "Consolation," Liszt ; Tarantelle, Von Bülow; Swedish Wedding March (particularly charming), Söderman; and Valse brillante,-A flat, op. 34, Chopin. We could not remain to hear Liszt's transcription of the Schubert Fantaisie, op. 15. The very beautiful singing by Miss ADELAIDE PHILLIPPS (Aria by Handel: "Dove sei," and "Oh! Fatima," Weber) added greatly to the interest of the concert.

The Opera robbed us of Mr. H. G. TUCKER's concert at Mechanic's Hall, May 3, which we learn was very successful. Mr. Tucker played, with Mr. Foote, those Variations by Saint-Saens on a theme from Beethoven, which were introduced in Mr. Lang's concert; an Etude by Rubinstein; an Allegretto by Schubert; Liszt's Galop Chromatique; Schumann, which he had played before with orand the "Introduction and Allegro," op. 134, by chestra in one of the last Harvard Concerts. LILLIAN BAILEY sang.

A few more remain.

Miss

THE New England Normal Musical Institute will open at East Greenwich, R. I., July 20, and continue till Aug. 17. The Board of Instructors will consist of Dr. E.

Tourjée, Carl Zerrahn, J. C. D. Parker, B. J. Lang, G. E. Whiting, J. O'Neil, L. W. Mason, J. H. Wheeler, H. E. Holt, D. S. Godfrey and others. A series of lectures will be given by Dr. Tourjée, H. K. Oliver, J. K. Paine, B. D. Allen, S. R. Kelley, John H. Norman and others. A series of concerts will be given, at one of which one of the great oratorios will be performed, and for another the assistance of a large chorus from Boston is secured.

For our Chicago Correspondent.

NEW YORK CITY, May 3, 1876. To the Editor of Dwight's Journal: DEAR SIR: Pardon my encroaching on your valuable space this once; as, not being partial to what is called "rushing into print," I never shall do so again.

My attention was called to an article containing a criticism on my singing at the Apollo Club Concert given in Chicago on the 23rd of March. This criticism was signed "Der Freischuetz." With his sharp, but doubtless kindly meant comment on my vocalization, I rest content; as being still very young, time and very hard work may yet enable me to win even "Der Freischuetz's" approval of it.

In justice, however, I must consider his condemnation of my selections on that occasion as by far too severe. When for weeks, in New York, Mlle. Tietjens retained "Bel Raggio" and "Arditi Valse," on her programmes, there was not the man to be found in the land, to accuse her of offering trash to the best concert audience to be gathered together. I should not presume to refer to Mlle. Tietjens, were I not forced to; and in doing so, I earnestly beg you to do me the justice of allowing that it is with no intention of instituting a comparison. The "Staccato Polka" of Mülder is purely a bravura piece, such as any artist, with a tolerable amount of vocalization would naturally select, and is as much open to the charge of being trash, as the "Carnival of Venice," or any other such piece.

My encore song to this, being a ballad, needs no defence, as they are ever fresh and ever welcome.

"Der Freischütz," in his contempt for the above selections, seems to me to be casting s slur on the good taste of the audience, which he himself calls one of the best to be gathered together, and for whose hearty, kind approval I shall be ever deeply grateful. This would of course also apply to the Club which did me the honor of sending for me, and of allowing these pieces on their programme.

Of course, when a Concert is to be of a strictly classical order, no singer in her solo has any right to depart from it; but when no specification has been made to this effect, she ought to have her own choice in the matter; and if nothing worse than "Bel Raggio "and" Staccato Polka" disgraces the programme, "Der Freischütz" ought to consider himself both lucky and blest.

To conclude; if "Der Freischeutz" really wishes to give young artists the benefit of his large experience and severe musical taste, let him do so in a gentler and more encouraging manner; as many, like myself, willing to accept advice, would be disheartened when assailed in his style. Of course, I shall not be so, as I will do him the justice of believing it was meant for my good, and endeavor to profit by his comments.

Musical Readings and Recitals.

MR. EDITOR: In addition to your chronicles of musical doings of the past winter, may be mentioned a course of

Saturday evening reunions of the students, past and

present, of the Mendelssohn Musical Institute, for mutual improvement and instruction. The exercises have been biographical and miscellaneous readings for information upon subjects intimately connected with music, its history, that of the Piano and Organ, the lives of great musicians, celebrated vocalists, etc., etc.,-after which those present have alternately recited some song, aria or duet, Sonata, Fantasie, or whatever form of mu

Special Notices.

DESCRIPTIVE LIST OF THE

LATEST MUSIC, Published by Oliver Ditson & Co.

Vocal, with Piano Accompaniment. Rock of Ages. Centennial Hymn for Four Voices. Ab. and Db. 4. to Ab. Emerson. 40 "Rock of Ages, cleft for me" first appeared in the "Gospel Messenger" March 1776, A. M. Toplady, editor of the paper, and author of the hymn. It is therefore a century old, and in this elegant and classical 4 part form, may well be sung as a centennial hymn.

I ask not if the World unfold. G. 3 E. to g. Nicholl. 30

"I ask not if there beat on earth

A warmer heart than thine."

The lover is well contented with his choice,-as
every singer will be with this smooth flowing
music.

On the blue Wave. Duet. Soprano Voices.
F. 3, to f.
Panofka. 35

"Come! to lovers ever kind
The silver moon shines bright."

A sort of "barcarolle" duet of much beauty.

sical composition may have been the subject of study, for the Wings of a Dove. G. 4. d to g.

Mendelssohn. 40

"In die Wüste eilt' ich fort."

"And remain forever at rest."

From the hymn "Hear my Prayer," and is of course of the best.

during the interim. To commemorate the birth day of Mendelssohn, one evening in February was given entirely to his compositions, preceded by reading a comprehensive sketch of his life. The closing recital for this season, on Saturday evening, April 29, was de- The little black Wench. F. 2. c to D. Sealy. 30 voted to selections from Beethoven as in the following programme:

"In South Carolina I was born and bred!" Easy and merry song and dance.

Roses wither while in Bloom. Song and

Chorus. G. 3. F to F.

"Fade and die and leave us lonely."

Considerable variety

My sweet Pollywog. E.

Percy. 30

d pleasing chorus.

Title. E. 3. c to
Tissington. 50

"From "Rose Michel," and is a mock sentimental tribute to a one-eyed dog. Where my Fairies dwell. Lith. Title. Ab. 3. E to F. Crabtre. 40

"In a cottage brown, far away from town,
My fairies dwell:-one, two, three."

A sweet, pure, musical home song. Carry it
home to your home fairies.

O, Lord, dismiss us. No. 8 of Otto Lob's Sacred Pieces. G. 4 to g. 35

(Notice that in trio and quartets the pitch of the highest note, only, is given. In solo songs both the highest and lowest pitch are given. See abbreviations). This flue trio is for Soprano, Alto and Bass voices.

Gatty. 35

"I sighed my heart into the boughs Whereby the culvers cooed."

WORCESTER, MASS. From the Worcester Gazette, of April 24, we learn that a large audience was present at the pianoforte recital given by Mr. A. W. FOOTE, of Boston, at the rooms of the Worcester County Music School, on Saturday afternoon. Mr. Foote plays with remarka- Defton Woods. Eh. 4. c to g. ble facility of execution and intelligent expression for so young a man; and shows an aptitude for the profession he has chosen which must, with perseverance, result in his occupying a high place among New England pianists. Mr. Foote was assisted on this occasion by Mr. L. R. Goering, the flutist. The programme was of the first order. Mr. Foote played Liszt's paraphrase on the "Rigoletto" theme, and the five selections comprising the third number, entirely from memory. Following is the full programme:

1. Fantaisie for Pianoforte, in F sharp minor, [Op. 28], Mendelssohn

2. Fantaisie for Flute, on theme from Verdi's "Macbeth," [Op. 47]..

3. a. Bourrée.

b. Etude, [Op. 13, No. 1]...

c. Air Russe: "Le Rossignol”.

. Briccialdi Handel Adolph Henselt Franz Liszt

d. Conzonetta, [Op. 42, No. 2]...... Adolph Jensen e. Minuet, [Op. 126, No. 1]................ ...Joachim Raff 4. Sonata [No. 4, in C], for Fiute and Pianoforte,

Handel 5. Pianoforte paraphrase on a theme from "Rigoletto,"

.Liszt

FREE ORGAN RECITALS. The organist of the First Church, on Berkeley Street, Mr. H. E. PARKHURST, will resume the good custom of his predecessor, Mr. Thayer, of giving afternoon recitals on the fine Walcker organ of that church. He will begin on Thursday afternoon, May 18, with the following programme:

First Organ Sonata.

Prelude and Fugue in C.... Fifth Organ Concerto...

Gavotte...

Andante..

Offertoire....

................

MR. THAYER's organ recitals at the new Old South church will be on Wednesday afternoons at half-past three o'clock, commencing May 17. He is also giving a series of Thursday evening recitals at the blind asylum, South Boston, where there is a large concert organ.