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THE ENGLISH OPERA HOUSE.
keeps a saucy valet for his nephew Farren, as we have said, played -- keeps a lady for his purse--and with great cleverness. Poor old boasts of continual vices in order to Pope, as Bickerton, shook bis Henry put himself off as a rakehelly young the Sixth hands, as he shook them fellow. But he is Old Beau Shat- 30 years ago, and quite as well; terley after all— his shrunken legs Cooper is a little hard, but exercise sneak in his boots--his back bends on the boards of a small theatre will beneath a broad cut coat, and his face take the starch out of his manner looks a lie to his impudent Gad-dam more than he or the public can imamee of a hat. The character, as gine. Mr. W. West, as Ferret, was sketched by the author, is thus well a Ferret itself, lawyer !-a comfitted-up by Mr. Farren; and though mon lawyer. He is a famous little very many of the situations are ex fellow indeed, and worthy to have travagant, and the colouring of this a gold cup presented to him by a particular character is a little over- deputation from the Attorneys of the wrought, still there is so much of Insolvent Court. Mrs. Glover playwhim and smartness, that we are ed with remarkable spirit in Mrs. carried, laughter and all, rapidly Bickerton. The other ladies were through the three acts, and are not all very well, if any inquiry is made allowed breath or time to cavil as after them. critics.
The piece itself, which we rather The Monkey Island—A New Pantothink is a very free translation, ap
mime. pears to have been written with This theatre opened during the haste, and got up in a moment of ne- early part of the month, with a comcessity (a moment of no great scar- pany which ought to make the Haycity at a theatre), with as much market shake in its shoes. Braham, speed as possible. To this unwise Mathews, Miss Kelly, the Grimaldis, rapidity is to be attributed several and several others, in themselves sufhalf-formed jokes, vapid puns, and ficient to draw crowded houses from unnatural situations. The charac- all others. Mr. Arnold seems resolved ters all seem to have wanted a quiet on trying his strength with his rivals; reconsideration, to give them that and if he do not carry off, for a season, finish which at present they are de- the affections of that jilt, the public, ficient in.
we know nothing of her gew-gaw The plot is extremely simple. affections. Beau Shatterley is old, rich, and A new pantomime from the pen of racketty. His nephew is young, in the unwearied Mr. Peake, (a pantodebt, and a lover. The difficulties mime from a pen seems odd enough, of the nephew are visited upon the but so it is,) was produced, and has uncle, who gets into a lawyer's amused for its time. But a pantohands, and thence into a bailiff's mime wants room, and Farley, and hands, by being a little too forward. Old Grimaldi, and Grieve, and a This is out of the frying-pan into the thousand other inestimables ; old fire. A married couple, Mr. and tricks, new tricks, cattle, space, Mrs. Bickerton, wage tender war bright scenery, and distance:-at throughout the comedy,-and a var Covent-Garden all these excellencies let of a valet fills up the interstices are to be met with—but at the Engwith plotting for his young master, lish Opera House, the essence only and feeding the absurd gallantries of of a pantomime is to be got at. We the Old Beau. An Irish Captain is tremble lest Mr. Barnes should totlugged in hy the shoulders, always ter up against us, and put his pigthe broadest handle for taking hold tail in our eye; and there is always of, in order to deliver a challenge good reason to apprehend the arrival from himself to a man who has not of Joe Grimaldi flap into one's lap. offended him—as Sir Lucius O'Trig- The opening scenes with the monkies ger has done before him ; and Ferret, as inhabitants, chancellors, judges, a nice little sharp-nosed lawyer, who and such things, were really very looks well able to find flaws or make laughable—and many of the tricks them, hunts the old buck, Shatter were quick and abstruse. But still, ley, through every hole and corner. if we may be pardoned, we like a Perhaps the best scenes are where winter pantomime. It is hot work to he and Old Shatterley are concerned. see Grimaldi except in a hard frost.
Der Freyschütz; or, The Seventh the forest with his wife and daughter, Bullet.
on a farm which he holds as a tried This piece which, on account of marksman. He resolves that his its magic, and its magic music, has daughter Agnes shall marry a good been completely turning all the half- shot, as the farm will only be kept turned heads of Germany-- has at in the family by such a prudent length met with an English manager match. The girl is attached to Robold enough to hazard the dangerous dolph, a forest youth, who is all the expense and risk of producing it in father can desire :-she is beloved, England ; and a company brave and however, by a huntsman, named potent enough to do its mysteries Caspar, who has made a compact and its music ample justice. The with an evil spirit, and uses magic original drama, which is, to judge balls. Rodolph, at the opening of by the English copy, but lonely the drama, is under the malignant and injudiciously put together, is influence of a charm, which frusfounded on one of the traditional trates all his sports, and turns aside tales of Germany, which has long every bullet he fires. The trial day been listened to in that country, and is ai hand, on which occasion his valued for its decided horror. This skill, as a shot, is to be proved-and tale has been admirably translated on his success depends his union with by a very able writer of the present Agnes. Caspar, who is jealous of day, and may be read by those, who his fortune with the girl, hints that love to dram with horror, in a work he might secure her if he would have called “ Popular Tales and Romances recourse to the magic balls—and the of the Northern Nations.” It will hope of securing his love leads him be seen that the plot of the drama, to promise a meeting with Caspar at which is pretty closely adhered to the glen, at night. Rodolph frames we understand on the English stage, an excuse to his love as the hour apvaries materially from the story.- proaches, and, in spite of mysterious Indeed no audience would endure to warnings, keeps his fatal promise. have a lover shoot his mistress to serve Caspar, in the mean time, whose the devil, as is the case in the tale. days are numbered, offers to Zamiel, How great are the Germans at Satanic the evil spirit, a fresh victim if he writing! The devil is their Apollo! may he spared a three year's longer
The piece has been produced by existence. The bargain is made: in Mr. Arnold with no limit to care or a magic circle the seven bullets are expense :-in truth we did not, and cast, by the owl's shriek and to uncould not believe it possible, until we earthly light !saw with our own eyes, that a small
Six shall go true! summer theatre could afford us such
And the seventh askew ! a scene of devilry and witchery as
Six shall achieve, the one now effected nightly. The
And the seventh deceive! diminutive stage, like Kean in one of The trial day comes, and the six his happiest nights, seems to expand sure bullets have been expendedwith the spirit of the scene, until the seventh, which the spirit is to there appears no limit to its space direct, Caspar trusts will kill the and wonders. The scenery itself is bride, Agnes; but the spirit directs not, we believe, new—but it is peo- it on Caspar himself--and the desopled with goblins and creeping things, lator is laid desolate ! - The piece numerous enough, we should sup- concludes with the wedding of the pose, to fill the great desart !- The young hunter and his Agnes ! principal scene is where the hunts Such is briefly the plot of the man Caspar casts the magic balls Drama ; of course the German story for his rifle,-balls which go unerr has not half so happy a conclusion. ingly to the mark; and as the charm- The Bride is killed by the bullet, ing goes on, the birds and evil things the last of sixty and three, and the swarm thicker and faster, until at Hunter goes mad in the forest. The the seventh bullet, the stage is one Spirit is managed with great effect mass of fire and wing and reptile !-- in the piece, and his appearance Perhaps a slight sketch of the story amidst the clashing branches at the may not be uninteresting :
casting of the seventh bullet is awful. Kimo, an old huntsman, lives in It is almost worthy of that fine
gloomy description of the flight of very last note, the composer, Weber, Zamiel, in the original story, after seems to have called upon Zamiel, he has secured his victim, which we and to have offered up to him notes cannot resist giving in the translator's which would go into his very soul ! own words.
There is a depth, a wildness, which “ The black horseman turned away frights the mind while it charms the his horse, and said with a gloomy ear; and we will confidently say that solemnity -- Thou dost know me! no music, not even Mozart's, was The very hair of thy head, which ever heard with such breathless atstands on end, confesses for thee tention and earnestness as this extrathat thou dost! I am He whom at ordinary production of Weber. It is this moment thou namest in thy a great work! heart with horror !---So saying, he DAVIS'S AMPHITHEATRE. vanished, followed by the dreary The Battle of Waterloo is being sound of withered leaves, and the fought over and over again here with echo of blasted boughs falling from as much fury as the genuine one ! the trees beneath which he had There is a Duke of Wellington, in stood !"
Wellingtons, quite a match for the concerned in the true man, and fit to run in a curricle bringing forward of this wondrous with his Grace !-And there is a Gedrama appear to have been inspired neral Hill--and a Marquis of Anglewith an anxiety to do their parts to sea and other men of might, true the utmost. T'he little bog-toads fac similes of those valorous soldiers ! crawl about, as if they themselves — Then there is Napoleon Bonaparte, were terrified at the scene. All the curiously exact-broad shoulderedprincipal characters are well filled. well limbed--sallow—serious-plain Braham, as Rodolph, not only sang in the hair—and with an indisputable better than ever on the first night, featherless cocked hat. The only but acted with a feeling which we odd thing was the hearing him speak! never before detected in him. But We have seen so many silent likethe effect of the music was upon him, nesses, that the effect of a speaking and he was, in truth, under the in- Napoleon made us start. fluence of a charm. He performed The gunpowder does its best, and and gave a Grand Scena, which the horses are alive and dead just as seemed to roll around the air like the chance of war directs. It is really thunder. Mr. H. Phillips was poor worth going to the house if only to after such a singer; but one or two exercise the drum of the ear ! songs he gave with more energy But there is a rider in the ring, than usual. Bartiey played Old worth going miles to see-a Mons. Kimo with a good heart ; 'and Mr. Ducrow, the king of horsemanship, Benet as Caspar, imitated Mac one whose genius clearly that way ready, and beat the original hollow. tends. He is the first true horseman Mr. T. P. Cooke was Zamiel. He that ever gave a meaning to the disis by far the best bad spirit that play of fine riding. He shows the ever stalked the earth—he is so good, attitudes of the ancient statues ; that we only wish he may be able represents a peasant going to the to give up the part when he fields to reap-getting weary-repleases. Miss Noel is a quiet feeling membering an appointment with his singer, but her voice and manner are mistress and hastening to see her, both occasionally too flat. Miss until he seems breathless with his Povey sang with great spirit, and as flight !-All this you see distinctly, an actress she is decidedly making way. although he is standing on a horse at
It remains but to speak of the full speed, the whole time. The samusic, which, of its kind, is really vage horse which he catches in the beyond all ordinary praise or con- ring, and then rides, at first awkwardception. Some of the critics have ly and at last skilfully, without sadsaid it is not so sweet or so good as dle or bridle, is a fine picture. We Mozart's :-Pshaw! it was never in- advise all those who like to see a getended to be sweet! it is appalling, nius, be his line what it may, to hasterrific, sublime! It giveth not “ Airs ten to Ducrow. He looks like a from Heaven," hut, · Blasts from handsome enthusiast, when he is Hell.” From the Overture to the well on the horse.
umbrella, seeing the lights gradually We went to these celebrated gar- put out. It was a very refreshing dens on the night of the late storm, sight. and stood under the orchestra and an
To the Editor of the London Magazine. Mr. Evitor.-I observe that the for their pattern :-examples of this would Reviewer of Peele's Jests, in the last be needless and endless. Mr. Jonson proLONDON, is somewhat puzzled by posed Plautus for his model, and not only the epithet clenches, applied to them borrowed from him, but imitated his way by Ant. à Wood, and hazards a con
of wit in English. There are none who have jecture, that it means
66 shifts or
read him, but are acquainted with his way
of playing with words. I will give one stratagems.” In this, however, he example for all, which the reader may find is mistaken-it was formerly a com
in the very entrance of his works,- I mean mon expression for a quibble, or the prologue to Amphitrion.' play upon words, though about its Justam rem et facilem oratum à vobis volo; etymon I am quite as much in the Nam juste ab justis justus sum Orator dadark as the Reviewer himself. I do not just now recollect the occurrence Nam injusta ab justis impetrare non decet; of the term in any of our earliest Justa autem ab injustis petere insipiendramatists, and rather think it was tia ’st. introduced about the commencement Nor might this be the sole reason for of the seventeenth century:--in many Mr. Jonson's imitation, for possibly 'twas of our dictionaries it still retains a his compliance with his age that induced place. The latest instance of its use
him to this way of writing, it being then, I can hit upon is in a paper
as Mr. Dryden observes, in the postscript to “ A New Session of Poets for the his “ Conquest of Granada,” the mode of Year 1730,” printed in the Gent. wit, the vice of the age, and not Ben Jon
son's. And besides Mr. Dryden's taxing Magazine for 1731.
Sir Philip Sydney for playing with his Some brought in whole volumes of clenches words, I may adil, that I find it practised
by several dramatic poets who were Mr. And one by mistake brought a parcel of Jonson's cotemporaries; and, notwithduns.
standing the advantage which this age The inclosed extract from Lang- claims over the last we find Mr. Drybaine's “ Account of the Dramatic den himself, as well as Mr. Jonson, not Poets,” 1691, p. 149, you will find only given to Clinches, but sometimes
a CARWICHET, a QUARTER-QUIBBLE, very germain to ye matter.”
or a bare Pun serves his turn. Give me leave to say a word or two in defence of Mr. Jonson's way of wit, which
I shall conclude my remarks on Mr. Dryden calls CLENCHES.
this weighty affair with a “ modern There have been few great poets which instance,” consisting of a whole string have not proposed some eminent author of clenches :
SONNET ON A YOUTH WHO DIED OF EXCESSIVE FRUIT-PIE.
Currants have check'd the current of my blood,
And berries brought me to be buried here;
And plums and plumbers spare not one so spare.
Lessens not fate, yet 'tis a lesson good;
Wears quickly, and its rude touch soon is rued.
That lies not as it lies upon my clay,
Prays all to pity a poor patty's prey :
Tells that my days are told, and soon I'm toll'd away!
REPORT OF MUSIC. There was a time, and that not half other which is to be held at Welcha century back, when, if music could pool. We alluded also to those at Bath not be said to be wholly unknown in and Cambridge, contracted for by the provinces, there was nothing ap- the grand undertaker Madame Cataproaching to a demonstration of the lani, who may be said to have perfull powers of the art to be found formed her own funeral in this cabeyond the walls of the metropolis ; pacity, and paid the last obsequies nor indeed there until Joah Bates, an to her departed honours as a conamateur be it remembered, assembled ductress. The Bath festival was not that prodigious company of minstrels however so defective as the Camin Westminster Abbey to commemo- bridge. At Bath there was a band, rate worthily the greatest of their and there were choruses, and there fraternity. The design was magni- were parts, and there was a more ficent, and it was not less splendidly than nominal conductor. Nothing executed, and the result has been to was wanting but Madame herself, diffuse throughout a nation a know- who was so grievously indisposed as ledge of what music is able to effect. to be under the necessity of apoloFrom that time endeavours have gizing instead of singing at three of been made, and successfully made, to the performances. Monsieur Valimitate, with more or less approxi- lebreque asserts, it is said, that he mation to perfection according to lost by this engagement, i. e. procircumstances, the excellence then bably he esteems that a loss which attained, and to spread by the same he intended to have gained. At means a general understanding and Cambridge he came off better in a general feeling of the beauties of point of profit, and worse in point the art; nay more, such efforts have of reputation. The demerits of this been combined with the purposes of concert deserve a little detail as a benevolence, and made to give and memento to Corporate Bodies who receive support from the strengthen- lend the interests of the institutions ing aid of charity. For while assist- they befriend as a lure to the public. ance has been sought from music The performances were founded in and directed towards great public the desire to assist Addenbrooke's institutions, minds insensible to Hospital, to which Madame Catamusic have been awakened to bene- lani "had engaged to give a fifth of ficence, and thus assistance has the entire receipts (at Bath she gave been drawn from new sources and we understand, a tenth), she reservreciprocally exerted.
ing to herself four-fifths for her risk Such is the brief history of the rise and exertions. Now it is obvious and progress of those great county that this bargain must have been festivals which are now becoming so provident or improvident on the part universal, and, we may add, so useful of the gentlemen of Cambridge, acin spreading the love of art, in aiding cording to the stipulations they made public charities, and in promoting à for a competent band, and according circulation of the stagnant wealth of to the receipts; for if the one was the country. The power of example is small and the other large, it must be like the power of numbers; or, more clear that the benefit would be great like the rising of an inundation, there to Madame Catalani, and comparais a point in the progression where tively little to the hospital. Madame, the force is accumulated to a degree however, was limited by no stipulathat becomes irresistible. Thus the tions, and her execution of this treaty example of Birmingham at last upon the basis of honour is a singular wrought upon other places to emu- proof of a faithful and generous inlate the greatness of their exhibition, terpretation. The singers advertised and Liverpool and York have kindled were Mesdames Catalani, Colbran, the same spirit almost throughout the Rossini, and Pasta ; Miss Stephens whole country. In our last report we and Miss George; Messrs. Rossini, enumerated seven festivals which are Sapio, Placci, Kellner, and Phillips. concluded upon for the next three It is generally understood at such months, and we may now add an- meetings that the singers announced