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are to be heard at all the perform- from London for the last two conances unless it is expressly stated to certs. The pieces were performed the contrary. In this instance Ros- in no regular succession ; but as the sini and his wife appeared only on pressure of the moment required. the first two evening concerts. Ma- Madame Catalani transposed her dame Pasta on the last day only, and songs at pleasure to the entire destrucMiss George and Mr. Phillips not at tion of the composer's intention ; and all. The sacred performances were the management was altogether remade up almost entirely of recita- proachful. tives and airs, and there was not a The receipts are estimated at asingle chorus. At the evening con- bout 2,5001., exclusive of donations, certs Rossini sang “Se fiato in Corpo" which were awarded by the Comwith Catalani, and “ Con Patienza ;” mittee of Management to be the inbut he seemed to seek distinction divisible property of the Hospital, in rather for comic humour than fine spite of a claim which M. de Vallesinging, of which there were few or breque is reported to have set up to no traces, though he has unquestion- share (in the proportion of four-fifths ably great comic powers, so great to himself) these benevolences. Maindeed that the sensitive Catalani dame Catalani will therefore be cut could not withstand their effect, but down to from 300 to 4001. as her relaughed when she ought to have compense for her services—the exsung. Her planet was indeed in pences being between 1,6001. and eclipse, being completely obscured 1,7001., and the Hospital drawing by Miss Stephens and Madame Pasta, 500l. for its fifth, besides the whole except in Rule Britannia and God of the donations. We happen to save the King, where she touched know Madame has refused four hunthe hearts of all her hearers by her dred and fifty guineas for merely singvast energy, her prodigious volume ing at a provincial meeting for a of voice, and her fine countenance Charity— insisting upon a share.and acting. Pasta and Stephens were Bath and Cambridge will, we hope, however beyond dispute the favour- have instructed her better ; but in ites. The former by her Il Sacrifizio this, as in most other cases, repent d'Abraam at the church, which was ance will probably come too late. certainly supremely excellent in ex Her course is nearly run in England, pression, and by her Di tanti palpiti and we unfeignedly regret that so and Che, faro at the Senate House. bright a meridian should have been Both triumphed by the natural ma followed by so dark a setting of so jesty of a style as simple as it is great a light. now-a-days rare. Mr. Sapio was By a transition far more natural much applauded in his songs. Of and just than that by which Madame Mr. Kellner there is nothing to be Catalani finds herself the Conductress said. He was looked upon as one of Provincial Music Meetings, her of the undertaker's men, and the name brings us back to the Italian audience only wished he had been a Opera, where Zingarelli's Romeo é mute.
Giulietta has been produced for the As a whole, this grand festival, benefit of Madame Pasta. When we considered in relation to others, was first understood the piece was in premost disgraceful. The instrumental paration, we mentioned Madame band consisted of no more than Pasta as about to appear in Giulitwenty-eight performers; and, as we etta, forgetting for the moment in our said before, there was no chorus, an haste, that Romeo was written for a indispensable requisite to relieve the contralto, in the probability that she sameness of recitative and air, and to would personate the principal female. the production of those sublime and We take this opportunity of correctimposing effects which indeed are ing our inadvertency. the very first attributes of a meeting The libralto is a complete speciof this nature ; for single airs and men of the modern Italian metamorduets may be heard at every concert phosis of one of the plays of our imin town or country. The marks of mortal Bard. - Ancient Rome, under want of arrangement were visible the dominion of the Pope, is not more throughout; there was a scarcity of unlike to its original greatness. parts, and no printed books arrived The piece opens with a nuptial
feast at the palace of the Capelli, or tivated powers of a true artist. She the Capulets, where Romeo with his shone unrivalled in the delivery of friend Gilberto appears. A mutual the recitativo parlante, rendering every fascination seizes upon the lover and word effective. In the last scene, the Giuliettu, which the chorus, who are greater part of which she supports employed like that of the Greek tra- alone, the conjoined effects of her gedy, to be the observers and com- singing and acting were almost too mentators upon all that passes, in- much to bear. The recitative “Tranterpret very sagely, as well as faith- .quillo io sono," just before the adjurafully, into “Imania freme, duolse, e tion of Giulietta's spirit, was as exgeme.” At this moment Everardo quisite as can be imagined. In the Capelli (Capulet himself) appears with duet, “ Ahimè gia vengo meno," the Tebaldo (Tibault), who is betrothed, gradual failing of the vital powers and about to be united, to Giulietta. were depicted with an agonizing fideIn the very crisis of the husband's lity. Madame Pasta had gained a and the father's delights, Romeo is reputation in this character abroad, discovered, -all is suspicion and jea- which had spread her fame throughlousy, and the festival is suddenly out the world, and truly her merit has broken off. The scenes next in suc not been exaggerated. She has well cession, are interviews between the earned the praises bestowed upon her. father and his friends—the lovers and On the first night Madame Biagioli their confidants. Romeo, at length, was the heroine, and she sustained enters the gardens, and soon after is the part creditably enough, taking into found in a retired part, Tebaldo lying account the feebleness of her natural dead, slain by him. The agitations powers. In the later representaattending this discovery are the sub- tions Madame Ronzi di Begnis playject of the finale of the first act.- ed Giulietta, and with much success. The second opens with an interview Amongst the most striking portions between Romeo and Giulietta, who were the duets, « • Qual Oggetto," and swear eternal affection and constancy“ Dunque mio bene," the last of which and separate. Gilberto, in the next was given with exquisite expressivescene, prepares the expedient of the ness, with far greater purity than the sleeping draught, which Giulietta audiences of the King's Theatre have swallows. Her father comes to urge been accustomed to since the reign of her marriage with Tebaldo, and dur- Rossini began. ing his menaces she falls into the tor Nor must Signor Garcia be passed pidity which Capelli mistakes for over in silence. In his character death. The scene at the tomb closes there was little to set off a singer, the piece much as in the original, ex- but of that little he made a great cept that the chorus conducts Romeo deal indeed. His first air was one to the spot—who dies, and Giulietta of rapturous delight, and although faints upon the body.
subsequent parts of the opera allowed Such" are the materials of this us a full acquaintance with his paopera, in which there is not a single thetic powers, yet without detracting trait of the sentiments or the lan- from his ability in this the grander guage of Shakspeare. It may be walk of the drama, we may be altruly said to be made up of excla- lowed to remark, that in airs which mations. But of such stuff is an admit of almost unlimited expatiation opera constructed, and the passionate he is most at home. His singing parts are sufficiently expressive to always reminds us of the soaring of Îead the composer to sonie very fine the lark. His soul is in every note musical illustrations.
-he seems let loose from earth, The piece was produced for Mac and the more boundless his flight, dame Pasta's honour, and her tri- the more full of ecstasy is his song, umphs, both as an actress and a singer, for herein lies the grand difference were certainly very complete. It is between Garcia and every other impossible to imagine more beautiful florid singer it has fallen to our lot and more perfect expression.
Her to hear. He makes every passage performance indicates sensibility and expressive, by the ardour and the a taste thoroughly formed-in a word, ease and the feeling with which he all the attributes of high intellect, as “wautons in the wiles of sound.” well as of the most industriously culs His last aria, “ Misero che faro,” gave
proofs never to be forgotten of the The practice of such a lesson will go fax deep sensibility with which he enters to confer the execution it is intended to into passages of pathos. The words display. “ Misero,” and “ mia figlia,” were
La Speranza is a very elegant com, uttered with a tone and emphasis position, by Mr. Abel, combining expresthat touched the very soul.
şion and mechanical excellence.
Mr. Ries's Variations on a March in NEW MUSIC.
Tancredi and a Rondo on Bishop's air, The Publications this month are com “When in Disgrace," are in his best style. paratively few.
Mr. Duruset has published a set of Mr. Kalkbrenner's Fantasia and Varia- Solfeggios, selected from the exercises of tions on the celebrated Jäger Chor from Crescentini, Paer, and Pelegrini, intended Weber's Opera, Der Freischütz, must be for the improvement of those who are studied in order to be appreciated. It has already acquainted with the principles of pot melody enough to render it generally the art. They appear more calculated pleasing, but its scientific construction will to confer execution than the portamento make it interesting to the student. It della voce, and we should not recommend appears to us to be a work of labour and their adoption until the voice has acquired science rather than of genius and imagi. the steadiness and quality of voicing which nation.
the practice of the scale alone confers. Impromptus, or Brilliant Variations on Their style is perhaps more modern and a Cotillon, by Galenberg, is evidently the more strictly allied to that now in fashion, production of a fine piano-forte player than any Solfeggi extant.
IMPORTANT INTELLIGENCE FROM NEW SOUTH WALES.
DISCOVERY OF BRISBANE RIVER. The following interesting particu- fectly fresh. Mr. Oxley proceeded lars have been communicated to us 30 miles further up the river without by a gentleman just arrived from finding any diminution, in either the New South Wales.
breadth or depth of it, except that Mr. Oxley has at last discovered a in one place, to the extent of 30 river of considerable magnitude, with yards, a ridge of detached rocks an embouchure to the sea; Mr. stretches across, having not more Cunningham, the botanical collec- than 12 feet at high water; and he tor for Kew Gardens, has explored a obtained from a hill a view of its appass through a fine country, from parent course for 30 or 40 miles fure Bathurst to Liverpool Plains; and ther. As far as Mr. Oxley went, the Mr. Bell, jun. has effected a way tide rose four feet six inches. It was from Richmond to Bathurst, which impossible to pursue the investigation will avoid the difficulties of crossing then from sickness, heat of weather, the Blue Mountains. But the great- and shortness of provisions ; but he est and most unexpected discovery of was to renew his survey early in the all is, that of the river which Mr. autumn. The country was level all Oxley has called the Brisbane, and round, from south to north-west, in which discharges its waters into the apparent south-west course of Moreton Bay, 400 miles to the north- the river; from which circumstance, ward of the settlement at Port Jack- and the slowness of the current, and son. This valuable discovery was the depth of the water, Mr. Oxley made only in December last, in the was led to conclude that the river course of a survey of Moreton Bay, will be found navigable for vessels of with a view to form a convict penal burthen to a much greater distance, establishment there, in pursuance of probably not less than 50 miles. the recommendation of the commis There was no appearance of its being sioner of inquiry, Mr. Bigge. The flooded ; and from the nature of the river flows through a rich country, country and other circumstances, he and is navigable for 20 miles for vese does not think that the sources of the sels of considerable burthen, if not river will be found in a mountainous drawing more than 16 feet of water. region, but rather that it flows from From this distance the water is per- some lake, which will prove to be Aug. 1821.
the receptacle of those interior make the Macquarie fall in one place streams to the south-west, crossed 437 feet in little more than 50 miles, by him during his land expedition of and in another 750 in about 50 miles ; discovery in 1818, namely, Parry's and Sir Thomas Brisbane's measureRivulet, Bowen River, Field's River, ments make a fall in the river of and Peel's River. A paper has been 1140 feet in only 30 miles. But this read before the Agricultural Society, last is impossible, where there are no showing that it is not probable that cataracts, and must be attributed to it can be the outlet of that inland some error in using the barometer. lake, in which the river Macquarie Whatever may be its origin, it is was found to terminate, since the the largest fresh water river hitherto whole course of that river for 300 discovered in New South Wales, and miles is north-west, and it would re- promises to be of the utmost imporquire an immediate regular diversion tance to the colony, as it affords to the north-east for nearly 400 miles water communication with the sea, to reach Moreton Bay; and then the to a vast extent of country, a great height of its head above the level of portion of which appeared to Mr. the sea would allow the whole river Oxley capable of raising the richest only a fall of about two feet per mile, productions of the tropics. whereas Mr. Oxley's measurements July 26.
SKETCH OF FOREIGN LITERATURE.
duction of the author of ClytemnesThe Drama. — Passing over the tra and Saul, who was not deterred trifles that have been brought for- from choosing this subject for a traward at the minor theatres, we have gedy, notwithstanding the fate of the to mention two regular pieces. Both- numerous pieces on the same subwell, a Drama in five acts, (in prose) ject which have been produced on by Adolphus Empis, has been per- the French stage, of which none formed at the Theatre Français. is remembered except that of MarThe evident object of the author is montel; and even this is not only seto clear the memory of Queen Mary verely censured by La Harpe, but from the imputation of having been this celebrated critic adds, “ To fancy an accomplice in the assassination of that such a subject can be raised to her husband King Henry. This the dignity of tragedy, the author piece succeeded, as the phrase is, on must have lost his senses, like the the first representation, because every hero whom he has chosen.” Though thing had been arranged to save it; M. Soumel, in the ardour of youth but the critics have treated it with was not deterred by this anathema, no little asperity, on account of the he probably had some misgivings, multiplicity of conspiracies, treasons, which induced him to keep his play and assassinations, and its notorious back for many years. He has hoped, deviations from history. The author it may be supposed, that the alteraseems to have felt the justice of some tions which his maturer judgment of the criticisms, at least, made on suggested, by raising the feebleness his piece, for he has withdrawn it of the characters in striking situatifor the present; and it is hoped he ons, and hiding the faults of the plan will be able to remove some of the by a profusion of admirable verses, most objectionable parts, which tend might render it worthy of appearto obscure the merit of many fine ing before the public. M. Soumet, scenes. Cleopatra, a tragedy in five like Marmontel, has greatly embaracts, by M. Soumet, has been repre- rassed himself by the introduction of sented at the Odeon. This composi- Octavia, whom; contrary to known tion, though only now brought for history, he brings to Egypt, where he ward, is, however, the very first pro causes her to fall by the hand of
Cleopatra, on whom he thus throws pose to recal them altogether to the additional odium, and of course adds attention of our readers. These colto the difficulty of exciting any in- lections are five in number. The terest for her in the mind of the first, directed by thecare of M.Guizot, audience. Nay, M. Soumet has embraces the first eight centuries of even introduced Marcellus, the son the French monarchy, from Clovis of Octavia by her first husband to St. Louis. The first eight vo(though he makes him the son of lumes of this collection are published, Antony), who is left to bewail the faithfully translated from the barba loss of his mother; thus committing rous Latin into French, which is another and most offensive viola- suitable to the simplicity of the times tion of history, in spite of Virgil, of which they treat, and enriched whose affecting verses on the pre- with valuable explanatory, notes. mature death of that young prince This collection, which will form 30 are so well known that we ought volumes, is followed by that of M. almost to ask pardon of our readers Petitot, which includes the Memoirs for only alluding to them. Notwith from the 13th century to the middle standing all that may be objected of the 18th. Many of these are into M. Soumet's performance, its edited. These two collections are faults are outweighed by splendid completed by Mr. Buchon's edition beauties: it certainly does not belong of the Chronicles of Froissart, Monto Voltaire's genre ennuyeux. The strelet, the great Chronicles of the two Salems, a fairy opera in one act Abbey of St. Denis, and the Memoirs produced at the Royal Academy of of Duplessis Mornay, making in all Music, is but the old story of the 60 volumes. The 4th and 5th votwo Amphytrions in a new dress. The Jumes of Froissart are now published. little merit of this piece, the music of We have already spoken of the vawhich too is very poor, certainly luable additions made to this new could not entitle it to be performed edition. These three collections inat the Opera, much as it has declined clude the whole of the original hisfrom its ancient splendour.
tory of ancient France. The fourth History, Memoirs, and Biography. collection, consisting of Memoirs reAs it may be in general presumed lative to the French Revolution, of that in the market of literature, as in which we have repeatedly spoken, every other, those whose business it proceeds with rapidity, and will unis to furnish the supply will take care doubtedly furnish the future historian to consult the taste of their custom- with most valuable materials. We ers, we are surely authorised in con- cannot refrain, however, from obsidering the great number of histori- serving that we think the publicacal publications which are continual- tion of some of these Memoirs might ly issuing from the French press, as have been spared. The latest that a proof that a love of serious reading have appeared are those of Thibaumust be very general among our deau, who, having held important poneighbours; for though the super- litical situations under all the governficial and the gay may take up a vo ments, had opportunities of observalume of Memoirs in the hope of meet- tion under the Convention, the Di. ing with amusing or scandalous anec- rectory, the Consulate, and the Emdote, such motives cannot be sup- pire, which are calculated to render posed in those who read historical his Memoirs very interesting. Two works of the nature and extent of volumes are published. The Methose to which we have alluded. We moirs of Condorcet, extracted from have already had several opportuni- his correspondence and that of his ties of noticing, in their progress, the friends, particularly of Suard and several collections which are now Morellet, are advertised, in 2 vols. publishing simultaneously at Paris; 8vo.* The celebrated Madame de but we think it not beside the puré Genlis has advertised the Memoirs of
These Memoirs are disavowed by the family of M. de Condorcet, who declare that he left no Memoirs. It may be, that the papers are authentic, but the title seems to be a bait to catch the public.