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seemand whose identity with Florestan she can one pedestal. Those supporting the corners are and grace to what might have been otherwise not certainly determine, there was a terrible force square, while those in the centre are round. The deemed defective in point of strength as well as of truth imparted to her acting by the struggle appropriate mouldings and brackets, the contours point of attraction to persons visiting the Hall.

entablature and cornices are ornamented with offensive to the eye. The ceiling is the great within her, which was actually painful to the of which are embellished with a profusion of It derives its chief beauty from the chaste design audience. She was playing as to an audience sculptured enrichments. The soffit of the corona and happy combination of colors with which it is of statues. Rocco went for Pizarro. He drew is broken into panels, between the brackets, with decorated. It is thrown into panels, both square He examined the grave. He ordered appropriate mouldings in the sinkage. The ovolo, and parallelograms, with about 12 inches recess

torus, scotia, cavetto, fillet, bead, cymarecta and from the face of the margin which separates them. Fidelio to retire, and then made himself known

cyma reversa are the elements from which the These panels are painted in fresco so as to present to his victim. What passed between him and mouldings and ornaments bave been designed. one of the most rich and mellow tinted shading of the prisoner was scarcely heeded by the specta A great portion of the front is made with iron, colors imaginable. The ornaments upon the

while the remainder is built with brick and tors, for all eyes were fixed upon Julia, who,

margin of the panels, representing flowers of covered with mastic. The surface is finished with various tints, give a bold relief to the whole concealed from Pizarro, stood aside waiting for

paint and sand so as to imitate the Jersey sand picture. The numerous fret work pendants, the moment to attempt the rescue, pale as death stone, laid in courses. The front view presents through which the gas fixtures are suspended, are and leaning for support upon a projection of the a grand and imposing effect as the eye glances got up with such taste that they are considered scenery. The savage aria, in which hate over its outlines, from the side walk to the peak ornaments rather than blemishes. At the angle

of the roof. The relief produced by the light of the ceiling with the walls there is a beautiful and triumph are so awfully expressed, ended,

and shade of the various indentations and projec- dentil cornice and freize with sculptured mouldand the dagger was raised to be plunged into the tions, exhibits a deep but pleasing contrast to the ings and brackets, the whole entablature resting breast of the victim. As Julia rushed between surrounding scenery.

upon graceful arches which are supported by the two actors, the astonishment and recoil of The first story is arranged for stores in connec pilasters extending down to the gallery floor.

tion with a broad entrance to the main corridor Over the stage, in front of the organ case, are Pizarro were not acting. To him, too, the scenes that leads to the balls above.

several mechanical fixures or diagrams, painted in had long since lost their unreality, and as he After passing through the front door you enter a fresco, representing the genius of mechanism in caught and hurled her from him, it was with a vestibule which is connected with the corridor by the act of demonstrating the theories and probviolence from which her arm long felt the effects.

glass doors. A passage way 12 feet wide extends lems of pbilosophy which mark the age in which Again Pizarro rushed upon the prisoner. She

the entira length of the building from Main to

Waldo street. On the east end two flights of The whole establishment is lighted with gas, again interposed and pointed the pistol to his stairs ascend to the upper stories. On the west and warmed by steam generated by a furnace breast.

The trumpet was heard in the distance, end also, two flig!ts of stairs ascend upward, which, outside of the building. and Florestan was saved.

for solidity, beauty of design and thorough workAs Pizarro, with his face muffled in his cloak, manship are worthy of a passing remark. The

OPENING ADDRESS grade of these stairs is remarkably easy, being left the dungeon with old Rocco, Julia followed a

FOR THE ACADEMY OF MUSIC, PHILADELPHIA. composed of 30 steps of 6 1-2 inches rise and 14 short distance, then dropping the pistol, she stood 1-2 inches tread. The newel post, rail and Written by the Hon. Robert T. Conrad. as if bewildered. She looked wildly round, as ballusters, are of a new and novel pattern, of SPOKEN BY MISS CAROLINE M. RICHINGS. if asking, is this all unreal ? She pressed her massive size and solid materials. The hand rail

When Time was young, and Music's spell, 'tis said, is about 4 by 8 inches, with a mahogany cap on hands to her eyes for a moment, and then rush

Moved stones and trees, and e'en recalled the dead, top and ogee moulding on the sides. The ballusing into the arms of Florestan, would have fallen

Then, (when the poet's dreams were sooth,) the lyre ters are of oak, 4 1-2 inches square, top and but for his support. The audience was too much bottom, and the middle is turned to a graceful

Once bade a city's prostrate walls aspire : excited for applause.

Quick throbs the granite rock--a living thing; .
The few hands which pattern. The treads are of southern hard pine
i 1-2 inches thick. These stairs land in a

The ruins tremble with the trembling string;
applauded were immediately hushed, and all
transverse corridor 20 feet wide, from which you

They move, respective to the lyre's command; waited in profound silence for the ritornel of can enter all the rooms on the second story.

They form--they rise-a towery wall they stand! the duet. It was played but there was no re There are eight rooms upon this floor, including a

Such power had Music's self. But, lo! a thoughtsponse from the stage. A burst of tears relieved Hall, 50 by 80, with permanent circular seats, a Her shadow here a mightier work hath wrought; the actress, and she gave the signal for the orches- pla!form, desk and two ante-rooms adjoining. Spoils of the Past here bade the walls arise,

This Hall is well adapted for concerts, lectures While listening Hope leaned o'er, with glad surprise ; tra to repeat it. Then and there was heard

and social assemblies. Upon this floor, the Soon towers the dome-the temple soon expands; Becthoven's immortal duet: Oh namenlose Association will probably reserve two spacious For thousand needs quick meet a thousand hands; Freude, (Oh joy beyond expression). I cannot rooms for its library and for holding the monthly The purpose plann'd, 'tis jostled by the deed; describe it. Some, who find in music the almost meetings of the board of trustees, and the

And wonder, wonder crowds with eager speed. remainder will be rented for offices or other articulate speech of the heart, may perhaps imag

'Tis done, and nobly done! Exulting Art purposes.

Smiles o'er the pile so perfect in each part. ine the depths of expression which the divine From each end of the transverse passage at the

Wide and harmonious as bright music's reign, tones of her voice conveyed. And yet through head of the main street way, a flight of stairs

Her newest triumph lights her noblest fane. all the torrent of “joy unspeakable,” which was ascends upwards to a broad stair, 6 by 10 feet,

Long may it stand! Loud yield the tribute due thence branching to the right and left, reaches the expressed, was felt a something which told too large Hall above at four different points, making,

To Art, to joys reproachless and to you ! truly of the woe of the singer. The singers re with other entrances, 8 places of ingress and

Music! whose hymn the Stars of Morning sung, tired. The tears of the audience were wiped egress to the main Hall. . The hand rails, newel Ere the sweet spheres by Discord's hand were wrung; away, and a few hands began hesitatingly to

posts, ballusters, risers and treads of all these Whose rules great Kepler in the planets saw, *

stairs correspond with those before described, and And knew, in them, the Universal Law applaud. The spell was broken. The audience

they certainly present one of the most attractive The law by which the stars their orbits sweep, How many times Florestan assisted her to features about the buliding.

And 'quiring worlds their course in concert keep; appear and bow her acknowledgments, while The great Hall is on the third floor and is 130

Music! whose code by bright Ægea's tide, wreaths, boquets and presents of value were

feet long and 80 feet wide, with galleries on each (So Plato tells), o'erruled all codes beside; t showered upon the stage, I have forgotten. It

side and across one end, extending over three of For Athens trembled o'er the Lydian lute,

the ante rooms. There are seven rooms upon was long before the machinists could prepare for

And Sparta battled to the soft-voiced flute; this floor, either one or all of which may be used

Music! whose boundless wealth, like day can give the closing scene.

as drawing rooms in connection with the Hall. The opera was at last over.

At large, unlessen'd, unto all who live
And Julia had

On the east end, an organ case of great beauty
and richness has been constructed and it was

Costless, yet priceless, free as Ocean's wave,
left the stage forever! Her triumphs were at an
confidently hoped that an organ would have been

Alike to Fortune's darling or her slave; end. procured and placed within it, in season for the

The peasant’s joy—it thrilled Arcadia's sky; dedication, but, we are sorry to say, in this

The poet's bliss-it lighted Milton's eye; A Splendid Hall in Worcester, Mass. particular, with many others, we are doomed to

The courtier's grace-'twas gallant Raleigh's pride; The Worcester Palladium has an account of the

The lover's voice-so burning Sappho sigh’d; be disappointed. The Hall itself independent of new “Mechanics' Hall" inaugurated recently, from its surroundings, is a curiosity of rare excellence

The warrior's summons, when, 'mid Alpine snows, which we take the following description:

and of great beauty. As a work of art it is not Gaul's quick strength falter'd and her hot blood froze.

surpassed by any thing in the country, if it has an When squadrons fainting paused, or stark and stiff, The building is 105 feet wide on Main street, equal. The gallery front is a very beautiful Toppled to gulfy death, far down the cliff, 145 feet long and three stories high. The view feature of the hall, with its salmon colored damask Sudden, Napoleon bids the war-charge sound, on Main street is of the Corinthian order of curtain stretched behind an ornate railing of little Architecture, with a heavy projecting cornice and

columns. The scroll brackets, underneath the See Kepler's Harmonices Mundi-afterwards confirmed by entablature resting upon twelve fluted columnos galleries, of beautiful design but of mammoth

7 Plato said that Demon's music could not be changed withstanding in pairs or couples, each pair resting on dimensions and sculptured exterior, give solidity out changing the constitution of the state itself.

rose.

Newton's discoveries.

And wild and high the glaciers echo round;
They start-they burn-their nerves are fire again-
They win the height-to conquer on the plain!
Music! which sins not-cannot fail or fade
Exalter, Friend, Consoler, Soother, Aid-
Here, in her temple, we her altars rear,
And service meet-hearts-hopes-all-offer here!
Nor sole, though regnant, here our sovereign's sway!
The Drama, too, shall know its better day;
Bright in the splendor of immortal youth,
Rich in rare Wisdom, Poetry and Truth-
What though her mirror darkling mists distain;
Clear but its surface, it will shine again;
Shine with the wild and weird-like glory shed
By Poet-seers, the myriad-minded dead.
In such a home, where ardent service tends,
Where wealth is zealous and where worth befriends,
No more shall scenes unmeet the stage profane,
Nor Vice nor Folly steal into her train.
Afar, the tastes that with her Genius war;
The sullying jest, the sordid taint, afar;
The Drama here in vestal fame shall live,
And crave no triumph virtue cannot give!
As when the morn on Memnon's marble shone,
The marble warm’d, breath'a Music's sweetest tone,
So, in your kindling smiles our dawn will break,
And music here, in grateful witchery wake;
The buskin'd muse with solemn step descend,
And their sweet spells the Arts and Graces lend.
We, of our temple proud, our triumph too,
Proud of our cause, and, patrons, proud of you,
Will call up words of Fancy, pure and bright,
With Genius, Wit, Mirth, Melody, Delight;
While white-rob’d Virtue, from her sacred throne,
Smiles o'er the Scene, and claims it as her own!

Jocoso, Duketest, father of Clari.'"!!...........Abbo

Geronio, a drunken actor........................
Clari................

For Dwight's Journal of Music. "Home, Sweet Home." “G. M. F.” writes as follows to the Boston Journal :

Master Paine's School in Berry street, (now Channing street), was one of the prominent schools of Boston. Many of our public men were educated by Master Paine. His school, his teaching, and bis great care of his scholars, will ever be remembered by those who were under his tuition. He was the father of John Howard Paine, who in his youth was called the young “ Rosciusof America, and the old " Boston Theatre” was often filled with Boston folks to witness the histrionic powers of the young "Boston Boy." He was the author of some fine plays, which have contributed to the pleasure of Boston audiences.

John Howard Paine was the author of " Home, Sweet Home," the sweetest song, embracing the porest sentiments, ever penned by man. How many sweet homes are cheered by this song, and how many turn to home and its fond remembrances as they hear it when absent! I have heard it in the far West-in the sunny South, and never without feel. ings of deep sympathy for its author, for he had no home. He was for years a wanderer in foreign lands. I knew him well, and when he was first appointed Consal at Tunis, he was a constant visitor at my house. He was poor, and complained of neglect. I have often been with him when he would speak of what he had done for the amusement and pleasure of the world, and how poorly he had been paid. I well remember of an evening's walk in New York, when we heard voices singing “ Home, Sweet Home." We stopped under a window, and at the conclusion he gave a hearty sigh, and remarked, “how little they know of the author who has no sweet home."

John Howard Paine died in a foreign land, and there is no monument at home to his memory. Mount Auburn does not contain a more interesting memorial, than one which should be erected to the author of "Home, Sweet Home."

I appeal to every lady who has ever sang or played this sacred song, and to every man who has listened to its melody—and to every Bostonian who values the credit of his native city-to unite in placing some memorial at Mount Auburn to the memory

JOHN HOWARD PAINE,

THE AUTHOR OF
HOME, SWEET HOME.”
One evening at the house of Mr. Vroom, the
American minister at Berlin, Home, sweet Home,

was sung, and I innocently remarked, that it was

Musiqal correspondence. creditable to American literature that this very popular song was written by an American. The

New York, MARCH 27.-Who can dispute the remark excited some surprise, and on the part of

supremacy of humbug in this country, when even an Englishman present was received with no little

THALBERG finally succumbed to it? The Brown incredulity. The fact is however so, notwith

and lunch movement, mentioned in a former letter, standing. In Duyckinck's “ Cyclopædia of Ame

was only the beginning of the maestro's homage to rican Literature," vol. ii. p. 140, et seq., is a sketch

this American god, of the nineteenth century; durof Payne, drawn from two articles by T. S. Fay, ing the past week his influence has grown more and now minister to Switzerland, contributed many more sure, until at last, with the aid of STRAKOSCH years since to the old N. Y. Mirror. The reader and the Academy, he was brought out triumphant, will find there that this song was sung by Miss M. in all his glory. A history of the last rapid strides Tree, (elder sister of Ellen Tree, now Mrs. Chas. of this divinity will interest you. On Monday, the Kemble,) and that she gained a rich husband by

16th inst., Mr. Thalberg gave a “grand Combina. it, &c. &c. It was in one of those mixed plays,

tion Festival," nominally for the benefit of the Ger. called operas in England, entitled “ Clari,” which

man Society. But it was so well understood that

only half the profits were to be applied to this object, was changed from a comedy to the operatic (Eng

while the other half were to fill certain private pock. lish) form, at the request of Charles Kemble, who

ets, that many persons would not countenance the had just succeeded Henry Harris in the manage

proceeding at all, who would otherwise have conment of Covent Garden Theatre. My purpose

tributed largely. Nevertheless, the house was now is to give some account of “ Clari.”

crowded, and the performances, consisting of a The opera is in three acts, music composed by miscellaneous concert by the orchestra, Thalberg, Bishop, then a young man, and becoming very d'Angri, and various German singing societies, (the popular.

best of which, however, had withdrawn their servi. “ Clari, or the Maid of Milan," was acted for

ces in view of the above-mentioned condition), and the first time at Covent Garden Theatre, May 8,

the first act of Fidelio. At the foot of the pro1823, with the following cast :

gramme it was announced that on Saturday the con

cert would be repeated, with various alterations, and Duke Vivaldi....... Rolamo, a farmer, father of Clari................... Fawcett.

the second act of Fidelio! The newspaper advertiseJocoso, Duke's Valet, in love with Vespina.......... Pearman.

ments, however, for several succeeding days, promNimpedo, a villager, about to be married to Ninetta. . Meadows. Nicolo, Ninetta's father...........................J. Isaacs. ised the whole of the Opera; but when Saturday

............. Keeley. ............ Miss M. Tree.

came, behold the following change: The concert Vespina, domestic in the Duke's family, in love

was transferred to the Academy, and the aid of the with Jocoso....

..Miss Love. Fidolma, Clari's mother...

..Mrs. Vining. functionaries of that institution announced : “Mr. Ninetta..........

..... Miss Hallande.

Thalberg-prime donne-German and Italian Opera,
In the Episode,
Nobleman..................

......Baker.

etc., etc.” The programme was literally as follows: Pelgrino, a farmer........,

......Chapman. the first act of Norma ; a miscellaneous concert by Leoda, his daughter.

........Miss Beaumont. Pelgrino's Wife....

...........Mrs. Pearce. Thalberg and d’Angri; the second act of Don Gio

ranni ; the second act of Fidelio, and (finis coronat The story is this. - The Duke falling in love

opus,) the last act of Trovatore! !! On account with Clari, has at length persuaded her to leave

of the length of the programme," the performances her lowly home, the “ thatched cottage,” and

commenced at 7 1-2; when they were to end, no one take up her abode in his house, under a solemn

could know. Perhaps the remark of one of our promise of marriage, which, though sincerely in | dailies, concerning Manager Stuart's speech, at the love with her, he does not intend to keep. Clari, first representation of Mrs. Howe's play, might however, is looking forward with full confidence apply to them also: “If he gets through in time, to the marriage, meantime preserving her inno the piece will be repeated to morrow evening." In cence. Her eyes are opened to her situation and the end, Fidelio was left out, after all. danger by the performance of a play at the cha

After all this humbug, it was a great relief to see teau, the subject of which is similar to her own

one of Eisfeld's unpretending, sober, sterling history. The Duke happening to be called away

soireés announced, which could remind one that

there are still some earnest, striving musicians in at the time of the performance to answer letters,

existence. We had a lovely Quartet, in G, by he does not know the drift of the piece until it is

Mozart, and Beethoven's Quintet in C, for stringed too late to prevent its effects upon the mind of

instruments, in which Mr. BURKE played the first his intended victim. She is deeply affected by

violin, with his usual sweetness. The Trio was the the mirror thus held up to her, and making her

one in G minor, by Rubinstein, the piano part of escape, returns from the splendor which “ dazzles which fell to Mr. Mason. It is the same that he in vain ” to the humble home of her father. Her played at two of his own Matinées last winter; but mother believes in her innocence and forgives | he has improved exceedingly since then, and played her; her father refuses forgiveness. The duke, with much more spirit. The Trio itself I did not unable to live without her, visits Rolamo, who

like as well as last ycar; there did not seem to me levels a gun at him; Clari springs before the

to be so much in it as I then thought. duke, and her father drops the weapon. The

The singer of the evening was a Mme. HENRIETTE

Simon, a young French lady, who has a pure, clear, duke now makes honorable proposals of marriage,

but rather thin voice, with very little flexibility, and which are accepted, and the farmer places his

who sang her two pieces : Va, dit-elle, from Robert, daughter's hand in that of her high-born lover.

and Cherubini's Ave Maria so apathetically, almost The play ran twelve nights. It was revived in

stonily, as to waken no sympathy at all in her hearthe autumn of 1824, and again produced Nov.

ers. The effect of the last piece was much improv. 26, 1825, when Miss Paton — the Mrs. Wood ed by an accompaniment on the Viola, by Mr. L. whom we all remember—took the part of Clari. Simon, a relative of the singer. It was given again in November, 1826, again in On this same evening, Mme. EUGENIE De Roode, Nov. 1829, Miss Foote as Clari, and beyond this

sister to the singer of the same name, gave a concert deponent saith not.

A. W. T.

at Niblo's, assisted by her sister and the thrce

brothers MOLLESHAUER. The first-mentioned very | young lady, (she is hardly more than a child), is

of

said to play the piano exceedingly well, and to have she achieved her greatest triumphs, it is to her won. known as a vocalist and actress, I believe her Adal. acquitted herself admirably in a concerto of Cho- | derful rendition of the role of Violetta that I would gisa is her first essay as a singer in Italian Opera, pin-immensely difficult and some smaller pieces. chiefly confine my remarks.

and as far as I can judge, she promises well. Her It is said that she received a medal from the Conser: Mme. Gazzaniya is not handsome; her voice is voice is clear, and tolerably well cultivated, but vatoire in Paris, for reading music. The concert, not at all remarkable for either compass or tone; her cold and unsympathetic. She appears to be a great the tickets to which were mostly disposed of by the execution is very mediocre, and yet withal she is a favorite with the Philadelphians, and in a more wealthy and fashionable patrons of the young sis lyric vocalist, that can arouse into a wild enthusiasm prominent role her dramatic as well as vocal abili. ters, is said to have been poorly attended, to a the most blasé of opera habitués. In the Traviota, anties will appear to better advantage. The Adalgisa lamentable degree.

opera generally considered as one of the weakest is a stupid character at the best-a passive nonentity,

Verdi has ever written, she achieves triumphs, that who can in her action express no emotion beyond an PHILADELPHIA, MARCH 28.-A visit to the new

are due more to the singer than the composer. Verdi occasional lachrymose demonstration, and in whom Opera House is one of the mos: unmistakcable duties

merely gives the foundation, upon which Gazzaniga | both passion and gayety are out of place. Miss of every stranger at present visiting the Quaker | builds a glorious operatic fabric.

Richings will shortly appcar as Amina in the SonCity. On every side he will hear its praise resound

When she first appears upon the stage, it is as nambula. ing, and the interest taken in it by all classes of citi. | Violetta, the fashionable mistress of a brilliant estab That was a shocking accident that occurred the zens is really astonishing. They are quite convin-1 lishment, in all the bloon of youth, and revelling in

| other night at the Philadelphia Opera House, just ced that there never was such another opera house 1. the delights of gay society. It is true we all know

before the curtain rose on the first act of Linda. in the world--that at Milan may be somewhat larger, that her assumed happiness is but a mask to hide

One of the chorus women, the Signora LocatiLLA, but it is otherwise far inferior; and as to that at her sorrows; but for the moment, she appears to was suddenly taken ill of disease of the heart, and New York-its a pigeon-house beside their own. have forgotten ihem herself, and carols the drinking in a few moments expired. She was a large woman,

This very gratifying self-satisfaction is impregna song with all the spirit of bacchanalian glee. This always took a prominent position among the chorus ble to all attempts at argument. It is true, many of is the "point" of the first act, the remainder of the

singers, and her familiar form was an inevitable them have never seen the New York Opera House, music being such as to tax a singer's powers of rocal

fraction, and no small one either, of every opcra or indeed any other ; but at the same time they are execution, rather than her dramatic ability, and it is

troupe we have had for years. Poor woman ! it is perfectly convinced, that in Philadelphia must of only in the latter that Gazzaniga excels. In the

all over with her now, and if it do no good, it may necessity be the largest and best in this hemisphere, second act, Violetta is visited by old Germont, who

do no harm, to let out a bit of green-room gossip, if not in the world. Why, they cannot exactly tell, implores her to forsake his son. In this fine scene,

and tell that some time ago she had a quarrel with excepting from the simple fact of its location-it is Gazzaniga sings and acts wonderfully, making more

another lady of the chorus, who, in a fit of spleen, in Philadelphia, and must therefore surpass any of out of the comparatively insignificant music, than

applied to her the epithet, “cow." The name was its species, located in less favorable quarters of the one would suppose possible. It is truly thrilling,

immediately taken up by her associates, and as globe. the intense passion she throws into her performance,

"the cow” was she known in the green-room until And it is indeed a house to be proud of. Though as she repeats the words :

the night of her death. This event did not, howlacking in the gorgeous decorations that add such a

“Morro! La mia memoria

ever, stop the performance. The opera, after a splendor to our Opera House in New York, and

Non fia ch 'ei maledica,

short delay, was played with unusual success, but about one-third smaller in size, it yet appears to me

Se le mie pene orribili

few of the audience being aware that, directly behind

Vo sia che almen gli 'dica. to be the most complete and perfect I have ever

Conosca il sacrifizio

the gay scene, lay the dead body of the unfortunate seen. I would like to give you some idea of the

Ch 'io consumai d'amor

opera singer. She had for the last time taken her architectural elegance of the proscenium, the com

Che sarà son fin l'oltimo

place in the stiff row of awkward chorus women

Sospiro del mio cor." fortable arrangements of the seats, the great conven

for the last time made those angular gestures so sug. iences of egress, the magnificent effect of the princely

But it is in the last act that Gazzaniga excites the

gestive of the pump-handle—for the last time had stair-ways, &c.; but no mere word-description and greatest furore. Throughout the whole of this por

tripped forward in peasant costume to welcome the collocation of figures would give a correct notion of tion of the opera, where Violetta is struggling with

young Amina-for the last time had sailed majesthe reality. I felt an impotent desire to be transmu. consumption, the sympathies of the audience are

tically in the train of the guilty Lucrezia - for the ted into a Philadelphian, and thus have as my preexcited to a degree that is almost painful. The

last time had shuffled about the stage in the clumsy rogative the right of crowing with delight over my short cough, the pale cheek, and the symptoms of

robes of the nuns in Trovatore, and for the last time new Opera House, clapping my hands with joy, and bodily pain, are heightened by the expression of

had wandered in a huge blue cloak through the skipping about like a young lamb upon the moun. mental anguish, which in the aria : Addio del passato,

masquerade scene of Ernani. Her troubles and her tains-all of which the Philadelphians seem inclined finds vent in agonized cries, that, though written in

triumphs were now forever past; she had trodden to do, whenever they think of their new lyric estabthe music, produced, as sung by Gazzaniga, an effect

the boards for the last timc. lishment, the "American Academy of Music." entirely different from that which would be given to

Among the musical celebrities of Philadelphia, is As to the scenic attractions, they far surpass any. it by any other singer. And then, after Violetta is

the pianist, Mr. GEORGE F. BENKERT, whom I thing of the kind I have ever yet seen. The banrejoined and forgiven by her lover, and about to be

had the pleasure of hcaring. He performed several queting scene in La Traviata was one of the most happy in his love, she is suddenly struck by the

of his own compositions, among them a quaint brilliant ever witnessed within a theatre. The stage thought that she must die—that fell thought that

“ Marche Chinois” and a highly colored fantasia, represents a handsome apartment, with frescoed “hangs like a slimy snail on the rich rose of love"

suggested by the fourth act of King Lear. Mr. walls and ceiling, with corridors leading off in the -and in a wail of anguish her breaking heart pours

Benkert is quite a young man, but has composed back ground, and illuminated by real chandeliers. forth its misery- then it is that Gazzaniga throws

extensively, over thirty of his piano pieces having Rich furniture adorns the room, and the banqueting an intensity of passion into her performance that is

been published in Europe. At present he devotes tables are profusely decorated with flowers. Nothing almost awful. I have never heard anything on the

himself chiefly to orchestral works, of which he has is spared to make the illusion complete; and the sidge to surpass it, and can never again think of La

whole mountains of manuscript scores. For the tout ensemble forms a splendid contrast to the conven. Traviatu without Gazzaniga's agonized

past five years he has been pursuing his musical tional banqueting scenes on the stage.

“Gran Dio! morir si giovane,"

studies in Germany, under LINDPAINTXER, of whom Having a splendid house, a spacious stage, all ringing in my ears.

he has written a biographical article that appeared necessary scenic requirements, and an enthusiastic A cold, conscientious critic might find fault with in the last number of Fitzgerald's Ciry Item. Mr. audience, the “American Academy of Music" of this prima donna's lack of vocal cultivation. She | Benkert has given several concerts in his native city Philadelphia next requires a good opera troupe, and cannot sing a chromatic scale with clearness, and is with success, and now conducts one of the best muthis they also have, under the supervision of the deficient in many of the graces of vocalization. But / sical societies that Philadelphia can boast. He has "indefatigable Max," as the newspaper critics inva then her every tone is replete with deep feeling, and taken up his permanent residence in the Quaker riably call MARETZEK. The company comprises when required, she can portray with thrilling effect City, in which he was born and brought up, and names familiar to Boston opera-goers. Brignoli is the most intense passion. In this she surpasses any where his family reside. the tenor, Amodio thc baritone, Coletti the basso, singer I have ever heard, not excepting Grisi her My time in Philadelphia was limited, and conseand ALDINI the contralto, though I understand the self, though the latter is of course a much more

quently I was unable to attend an organ exhibition, place of the latter has been taken by Miss Adelaide fiuished artist in other respects.

advertised to take place in one of the city churches, PHILLIPPS. The prima donna is Mme. Gazzaniga, So much for Gazzaniga. She appears in New at which Mr. Benkert and a number of other organ. and the seconda Miss CAROLINE Rochixgs.

York next month, and will probably shortly visit ists were to perform. Philadelphia can boast some Mme. Gazzaniga, as a stranger, and the bright | Boston, where you can judge her for yourself. very superior organists, and among its church musi. particular star of this company, demands the first Miss Richings, the seconda donna, whom I heard cians whose names are familiar all over the country, notice. I witnessed her performance in two opcras | sing the role of Adalgisa in Norma, has recently | are HOMMANN, Cross, B. CARR, DARLEY, EMERICK, -Norma and Traviata, and as it was in the latter ' debuted on the lyric stage. Though favorably | STANBRIDGE, and others.

TROVATOR.

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Dwight's Journal of Music.

Salem, Mass., MARCH 26 - We look to your

PART II.

ance of the very best of music. To us, and to a 1-Overture Zımpa. Journal, Mr. Editor, for musical news from all parts 2- Beethoven's Quartet No. 1, Adagio.

few like us, who have made some study of the of the world, and doubtless it will please many of

3-Andante with Variations.
(und nave Fraucis, the Emperor.)

music, it was a rare privilege to hear the music your readers to hear from the good old city of Salem, 4-Sounds from Home. .

and the drama put together audibly and bodily as we are by no means the hindmost in musical

De Clercq, 1st Violin ; Weber, 2d Violin ; Biesing, Viola ;
Junkerian, Violoncello.

for once, though the performance had been twice matters. Although we send a large delegation to

This private concert was attended by a company

as bad. We found out what Fidelio was, and attend every good concert which you announce in

of some seventy or eighty persons, who sat in Boston, we are not without such entertainments

shall know how to receive it and appreciate it, breathless enjoyment throughout all the pieces. Our | unconfused by novelty, when the time shall come occasionally at home. We have not heard from the

artists here are very fine, equal to anything perhaps for hearing it presented as it should be. "Salem Academy of Music" nor from the “ Choral Society" daring the past winter, although the pre

you have in Boston; which is no marvel, when you But with the mass of the audience the case vious season the latter society brought out Mozart's

remember that nearly a half of Cincinnati is a com was different. Coming to it with no musical Twelfth Mass and Romberg's “Transient and

pletely German city; the German manncrs, customs preparation, and even with a contrary bias in Eternal,” under the able conductorship of Mr. M.

and speech prevailing exclusively. Prof. CLERCQ favor of their familiar, darling Verdi, Donizetti FENOLLOSA, a gentleman of thorough knowledge

of New York, has taken up his residence in this city, and Bellini; accustomed too, in every case, to and judgment, whose labors have done much to and has given a new impulse to music. He is a

think more of the singer than the music, what improve the taste and car of our community. He very superior violinist, and is fresh from the tuition

notion did they, could they get of German Opera, has now under his charge a private class of someof F. Dawit, (David ?) of Leipsic. Our friend

and of Fidelio especially, curtailed as it was, not thirty or more good voices, whose exquisite renderWillis, of the Musical World, was present on this

half rehearsed, sung out of tune by mostly coarse ing of many classical selections reflects the highest

occasion, and expressed his adıniration.
We have here an admirable St. Cæcilia-Verein,

or ineffectual voices, and without even the usual credit upon Mr. F. We are much indebted to the

assistance of a libretto ? which has given us the Paulus, and next week is "Young Mens' Union," who have treated us 10

Surely the Italians had some good lectures and concerts during the past

to give us Romberg's music of Schiller's “ Bell," their triumph-they relished the performance winter, the gem of which was an evening's enter

and the 420 Psalın of Mendelssohn. Our Philhar | marvellously well! Surely there is no shaking tainment from the “Mendelssohn Quintette Club."

monic Society is busy also in rehearsal of Beetho. off a fear that German opera has gained but It was a delightful performance, and gave extreme

ven's beautiful 2d Symphony, and some of the little foothold in the musical love of Boston, by pleasure to the large audience. The last of the

music of the Sommernachtstraum for their fourth this rash experiment; that its establishment scries took place on Monday evening, the 231 inst., Subscription Concert. Let Boston look to her

among our musical institutions or habits is only laurels. when a very attractive programme was presented,

C.

the more postponed. inclading the names of Mrs. WENTWORTI, Mr. B. J.

And yet we do not lose faith or hope. With LANG, &c. The lady sang even better than ever

some of that same hope which in Beethoven's before, and received hearty applause from all parts

drama lights the heroine and the victim on of the house. Every piece she sang was encored,

through glooms and disappointment to the triand some pieces were reëncored. Mr. Lang fairly

BOSTON, APRIL 4, 1857. umph of the good and true, we have but to resurprised the audience; he has made a remarkable

member how in all our experiences of Art, we improvement within a short time, which we in a

have had to grope our way through most impergreat measure attribute to his attention to the Thal "Fidelio" at the Boston Theatre. berg concerts. His mind's eye and ear have been

fect, miserable first representations, and almost

We had both rejoicings and misgivings when wide open to the performance of that great artist,

perversions, to at last a clear presentment of the we saw Beethoven's only opera—a work which and we could not but admire how prominent he kept

thing. So we came to the great Symphonies, now his suhject throughout the performance of his highly has taken its place by the side of Don Giovanni

so generally loved; so to Don Juan, which sufembroidered selections. He is our townsman, and as one of the two greatest lyric dramas yet pre

fered worse the first times given here than did we feel truly proud of him. sented to the world--suddenly announced for

Fidelio; so to nearly all great compositions. Speaking of TualBERG, on his first visit to Bos. | performance at the Boston Theatre, on Wednes

Attention to the roughest, most bewildering reton, he gave us an evening, and indeed it was such day night. We had never heard the opera, but

hearsal, helps one immensely to appreciate a an evening as your humble servant never expected from what we had heard and read about it, from

work in clear performance. The work of underto enjoy in Salem. We shall go to Boston to every a profound interest and faith in the genius of

standing great things, and learning to enjoy and performance that he announces, and we shall go Beethoven, and from such imperfect glimpses feel them perfectly, is, like every other work of everywhere we can to hoar such wonderful perfor: of its glories as we could get from frequent study

value, one beset with difficulties, doubts and dismances. Our churches cannot boast of very supe.

of the music in a mere piano and vocal score, we rior choirs, but we shall revieív them at another time.

appointments. We are thankful to begin with were prepared to welcome any opportunity of *We have two Brass Bands, who produce some fine

seeing through a glass darkly, so we only may music, for the enjoyment of those who are fond of hearing it and seeing it upon the stage as a most

begin, and afterwards keep on. But it is useless the fortissimo of such instruments-it sounds better to particular God-send. Hence the rejoicings

to expect an opera audience to listen with this us in the distance. CARL HAUSE is very popular not unmingled with thanks to the management

spirit, and we have no reproaches for any one here. He is very industrious and attentive to his of Mr. Thalberg, to whose enterprise we owe this

who found himself disappointed Wednesday profession. His many pupils speak of him as being opportunity. But then were these misgivings:

night. a most obliging, patient and conscientious teacher, Fidelin, as the highest specimen of purely Ger- But do not let us give too dark an impression adding this to his fame as a performer of the first man opera, is also the most difficult of operas, of that experiment. We shall have to give credit, school. After his day's labor, he may retire to bed and needs to be exceedingly well done to speak when we come to details, for good intentions with a happy heart. His pupils are among the best for what it really is. Will this first, almost ex- | generally, and in some parts felicitous achievement. families here, and some of them have become excel.

tempore attempt, by an indifferent German Mme. JOHANNSEN is certainly in many respects lent performers under liis careful tuition. The Old

Company from New York, with almost no re an excellent artist, Mr. BERGMANN an excellent Folks," from Chelsea, gave us a concert this week,

hearsal here, the chorus of prisoners supplied by conductor, and the acting was generally good. and considering that the profits went to the benefit of one of our benevolent institutions, we shall not

our " Orpheus ” Club, who, good singers as they The mistake was the not making a more serious speak a word against them.

Presto.

are, were never in their lives upon the stage, business of introducing Beethoven's great work,

with no female chorus at all, and an orchestra or any German opera, in Boston. Instead of a CINCINNATI, O., Marcu 27.—You see by the essaying almost at first sight music of the great hasty, slovenly preparation for one night, it following programme, that not only your enumera- est difficulty-will it exert a desirable influence should have been thoroughly prepared and tion of our public musical attractions, found in the upon the unformed taste of our semi-musical pub- studied for a run of several nights, with great Journal a few weeks ago, is just, but that we really

care to present it whole and perfect in its every have promise of a high musical taste in our city, cious and appreciative reception of German part; taking plenty of time for that, and also to such as shall penetrate the social life:

Opera, of which much has been said, but of which prepare the public. This would have resulted First SOIREE OF THE PAILHARMONIC QUARTET CLUB. no specimen was ever yet produced in Boston ? very differently, as the marked appreciation of

PART 1. 1-Overture Don Giovanni.

Since the performance our rejoicings and mis many points of the opera, even as it was, 2-Qurtet by Mozırt No. 2

givings both remain with equal force. It was in assured us. 3-Adagio. Ilayiin, op. 54. Theme from “The Creation." 4-Solo for the Violin......

... De Clercg. I truth, considered as a whole, a very bad perform- In the absence of librettos, the history and plot of the opera were thus briefly sketched upon the darkness; Joy (“ Choral Symphony”), Freedom, ance to the inspirations of hope. Mozartish still, bills: Truth, Humanity, bright ideals, natural rights

beautifully and truly so, except in the Beethoven

| climax and change just mentioned. Beethoven's Opera, “ Fidelio,” was produced and objects of the soul,. postponed by human

No. 3 is unmistakeably Beethoven, a few bars in November, 1805, at the Imperial House at wrong and error; darkness, confinement and long l of his mystical and deeply shaded introduction Vienna, under the title of “ Leonora." In 1814,

suffering for the present, but glorious delivery at leading into the Quartet in G, (Andante): Mir it was revised throughout, and put upon the stage, last by heavenly, all-conquering, human Love.

ist's su wunderbar, between Marcellina, Leonora, under its present title; since which time, no work

Jacquino and Rocco.
The deliverance of the prisoner, made so because

This Canon is so exquishas been a greater favorite upon the German

ite, the characters so set apart in their answering stage. The plot is simple: Florestan, a Spanish he“ dared to utter Truth," through the high faith

and imitative phrases, (Marcellina longing and nobleman, and intimate friend of the Prime and persevering heroism of a devoted wife! hoping for Fidelio; Leonora painfully conscious Minister, has, in some manner fallen into the

The moral sublimity of this inspired him to his of it, yet countenancing the illusion, intent on power of his arch enemy, Pizarro, Governor of

task. one of the castles of the kingdom, used as a prison,

The fortune of his effort was alike charac

her great purpose and its dangers; Rocco, too,

noticing it and liking the idea well; Jacquino, who has thrust him into one of the lowest teristic. The first production was a failure.

his hair on end” at sight of his poor prospects), dungeons, and is reducing his portion of bread Vienna then, in 1805), was occupied by the that it was greatly relished and encored, in spite and water daily, to destroy him with all the French army: the theatres were deserted: an of an execrable rendering, the voices being harsh horrors of slow starvation. Leonora, the wife of Florestan, seeking her husband in all directions, audience of unmusical French soldiers, with but and out of tune; even Mme. JOHANNSEN sang

with so rough an edge that, had we heard her at length has her suspicions aroused that he is in a sprinkling of friends of the true sort, found it

then for the first time, we should have thought this prison, assumes male attire, and enters the tedious. He had written more for Art, than for her a tenth-rate singer. She looked and acted service of Rocco, the head jailor.

the convenience of singers, and these important the part of Fidelio charmingly throughout, and In the opening scene, we have some by-play personages murmured at the difficulty of the

the infections of her voice in spoken dialogue, between Jacquino, another servant, and Marcel

(with which the music alternates in this as other lina, daughter of Rocco, in which the girl breaks music; he had enemies besides; the German

German operas), were beautiful and natural. off her engagement of marriage with Jacquino, libretto, adapted by Sonnleithner from an earlier

No. 4. Rocco, (Herr OEHRLEIN), a person in favor of the elegant and cultivated Fidelio.

one in French, was not altogether well managed; stout enough for a jailor, with a bass voice of The latter comes in from the city with chains it was badly divided in three acts; the composer

uncertain truth, but a fair singer), sings a song purchased for Rocco, and with letters for Pizarro.

in praise of money ;-—the least important number had not studied popular effect sufficiently, and Marcellina announces her desire to marry Fidelio;

in a musical point of view, though it might pay old Rocco consents and blesses the union. was persuaded into endless bother of altering the best. Pizarro enters; Rocco requests him to appoint the and re-altering. Peace restored in 1814, it was The music waxes in warmth and inspiration, future son-in-law his assistant, which is granted.

again brought out in Vienna, wisely compressed and in richness of ideas, in No. 5, a Trio, full of Among the letters is one sent by a friend to the

life and movement, in which Rocco applauds Governor, informing him that the Minister is into two acts, and with many parts omitted or

Fidelio's courageous determination to enter the secretly on his way to examine the prison and re-written; and in this form we have it now.

prison service, tells him (her) he will succeed by that he must prepare to meet him that day. Beethoven wrote for his opera four overtures. perseverance, that the heart gets hardened by Pizarro sees that his only means of escape is in

The first did not satisfy. The third, known in familiarity with horrors; she trusts in God and the death of the prisoner, and tempts Rocco to our concerts as the “ Leonora” overture, in C, is

her heart's pure purpose; Marcellina hints that murder him. He refuses utterly. He then

| love, too, is a motive worth consideration. orders him to clear out an old cistern in the a different treatment of ideas found in No. 2.

Nos. 6 and 7. A quick march heralds the dungeon for a grave, and will commit the deed This is by far the finest of the four, as well as by entrance of Pizarro, who sings an Aria, (D himself. After he retires, Fidelio persuades

far the fittest introduction to the opera, since it minor), with chorus, a terrific outburst of vengeRocco to allow the prisoners to come out of their is a resumé of its leading themes and incidents,

ful rage and hatred, in which he gloats with dungeons into the court of the castle to inhale the

fiendish delight upon the thought that he shall fresh air, and enjoy the sunshine. They appear and conceived in the lofty tone and spirit of the

soon have the heart's blood of Florestan, his falland she scrutinizes their faces, in hope of finding whole. Beethoven much preferred the overture en enemy and prisoner. The orchestra is lashed Florestan, in vain. Pizarro appearing again, is in C, but many thought it too long and too great into a tempest, and we have the Beethoven enraged to find the prisoners out of their cells, a work for the commencement, and hence he

energy under its most fearful aspect. The effect and Rocco exeuses it as a custom upon the King's

is marvellously enhanced, where, as the song birthday, and reminds him that one is dying in the substituted the lighter and brighter overture in

thunders along in D major, a low whispered chodeep vaults beneath the castle.

E, now commonly played before Fidelio. This rus of the guards in B flat comes in : “ He talks In Act Second, we follow Rocco and his new borrows nothing from the opera itself; has on the of death, &c.” But of the chorus not a note was assistant into the vaults, whither they come to dig contrary a lively and Don Juan-like expression,

uttered on our stage; the guards were dumb the grave. Florestan, chained to his hard couch,

show. Herr WEINLICH has an energetic action, is seen lying in the dim obscurity of the dungeon. and only connects itself as a natural prelude to

and a strong, hard, telling kind of basso, better The grave is dug; Fidelio, trying in vain to catch the lighter and half-comic situations with which

suited to such declamatory music than to most a sight of the prisoner's features. She persuades the play commences. There is only this advant- other kinds; yet his tones were dry and rattling, Rocco to give the dying man the piece of bread

age about it, that it conforms to the remarkable and his rage somewhat too blustering. Nor was and the pitcher of water they have brought with crescendo of the entire music, beginning with the

he free from the prevailing distemper with rethem for their refreshment. When all is ready,

gard to pitch. Pizarro is called. In the first act, the Governor lightest and least exciting, and growing more and

No. 8. Duet of basses, in which Pizarro prohas ordered a watch in the tower of the castle, to more intensely tragical and grand until the cli poses to Rocco to make way with the prisoner, give a signal upon a trumpet, the moment the

max where the prisoner is saved. The compo but, he refusing, declares his intention to do the Minister appears. Now the monster approaches sition consists of sixteen numbers.

dark deed himself; so his revenge will taste the the prisoner, ordering Fidelio to retire. She has

sweeter; but Rocco must prepare a grave by the at length seen the features of her husband, and in

No. 1 is a gay and charming, half-comically

old cistern in the cell. The contrasted feelings an agony of suspense, hides herself behind a serious duet, (in A), between Marcellina and of the two men are powerfully and wonderfully neighboring pillar. Ordering Florestan to be Jacquino, who presses her to name the happy depicted in the music, which, with Beethoven's loosed from his confinement, he addresses him in day; but she, poor simpleton, is all in love with

dark and mysterious modulations, is singularly an aria expressive of hate, satiated vengeance,

suggestive and exciting. and infernal triumph—an aria, in the mouth of a the supposed youth Fidelio. The music is Mo

No. 9 is the great recitative and Aria of competent singer, and before an audience whose zartish, clear and sparkling. Knocks at the

Leonora, who has overheard the plot: Abscheuknowledge of the German language enables them door keep interrupting the luckless lover just licher ! wo eilst du hin? (Monster! to what to feel its truthfulness, which is a masterpiece of

as he thinks he is getting on so famously in his

| deed art thou hastening?) It is a piece conunbridled rage and passion. He raises his dagger,

structed like the scena in the Freyschütz: first a and Fidelio rushes between them. “Slay first suit. Mme. BERKEL makes a pretty little Mar

recitative, in which the orchestra, (Allegro agihis wife !" she cries. Throwing her violently cellina; her voice is flexible and bright, and tato), depicts her horror and alarm at the thought aside he raises the weapon, but she again springs runs glibly through her high and often florid role; of his cruel “tiger sense,” but yielding to the before him and points a pistol to his breast. At but it is hard, thin, unsympathetic, and very

rainbow of hope which rises in her mind at the this instant the trumpet comes faintly sounding

thought that she may save her husband; then a down from the ramparts, and Florestan is saved. often out of tune. Herr NeuMANN acted and

heavenly Adagio, (in E), with prelude and acPizarro baffled retires, and leaves the husband sang respectably.

companiment of mellow horn and bassoon tones : and wife to the joy, too great for words, which No. 2, in C minor, commencing Andante, is a “Come Hope, let not the last star of the weary can only find vent in the sweetest sounds of music. sentimental Aria by Marcellina, in which she pale; however distant the goal, Love will reach Here was a subject after Beethoven's own sighs and dreams of union with Fidelio, and then

it," &c.; then an Allegro of immense fire and

energy: “I follow the inward impulse!” with heart. No dramatic story could better embody as the richly sombre instrumentation, “growing

rapid running accompaniments of horns and . the sentiment that burns in all his music. The to a point,” dashes down a scale of triplets and reeds in full chords, exceedingly effective and struggle of the soul with destiny, of light with l quickens to a livelier movement, she gives utter- ' inspiring when well done, but nearly spoiled by

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