all the limits of customary extortion. There can, indeed, be no hazard in peremptorily pronouncing that if this cupidity be indulged but a very little further, or be not reduced by enlarging the field of competition, almost all the enterprizes of our most enterprizing conductors will be brought to a positive certainty of loss. Indeed, it is absolutely come to such a calculation already in many undertakings.

The King's Theatre has begun the campaign with strong appearances of success, and the spirit evinced by the board of management deserves encouragement. We say this, however, with some reservation; for it appears not a little surprising that the subscribers, who are the chief supporters of this most expensive place of fashionable resort, should so readily acquiesce in the rise of the charge for boxes; and we are driven to assume, that the concession is drawn from a desire of exclusion but too common to rank and opulence, and from the belief that by adding to the costliness, the circle will be rendered more select. Indeed it is due to the managers to say, that we understand great pains are used to exclude improper persons, by certain restrictions in the issue of tickets, which must so operate, and operate usefully. Be this however as it may, the effect is the same. The pleasure must be purchased at a dear, not to say at too dear a rate; and, indeed, it seems altogether impossible to account for the necessity of such a demand (amounting to about one-sixth of the whole), since, if published statements are correct, and they have long stood uncontradicted, the receipts have generally exceeded 70,000l. per annum, and the engagements of principal performers have been under 15,000l. These facts become even more surprising when contrasted with the expenses of the best foreign opera houses. But England is the true "gold coast," and John Gull would be a far more just cognomen than the one which has so long been taken to designate the sturdy, unyielding dispositions of our countrymen. Even the last comer, Signor Rossini himself, has learned our foible. He has refused to put pen to paper for less than 100 guineas, and demands the very trifling compen

sation of 1,2001. for the copyright of the opera he purposes, Deo volente, to compose, and which he began to write on Sunday the 25th of January, in the present year, 1824, if his intention then to commence his work was not postponed by the gratulations of his friends on his reception on Saturday the 24th.

It afforded him, indeed, a considerable triumph; and as indicating the strong feeling of what is due to talent, and the liberal desire to pay the full homage to genius, the cir cumstances are alike honourable to those who bestow as to him who receives. Never did we witness so early, so vehement a struggle for admission. The pay-table was choked; and strength, courage, and even a little ferocity, were necessary to enable the lover of the all-softening art to pay his half-guinea at the door of the pit. A very few minutes sufficed to fill every part of it. All the world of science was there; and when Rossini advanced to his place at the pianoforte, he was cheered in the loudest manner-every body jumped upon the seats to catch a look of the great man, who continued to bow respectfully to the audience. The opera selected was his Zelmira, of which we proceed to give a sketch.

The scene is laid in the island of Lesbos, where Polidoro (Placci) the sovereign, having been overthrown by Azor, King of Mitilene, is concealed through the filial piety of his daughter Zelmira (Signora Colbran Rossini) in the subterraneous mausoleum of the kings of Lesbos. Antenor (Curioni) aspiring to the throne, has conspired with Leucippo (Porto) to murder Azor, and the piece opens at the moment of the discovery of the deed. The conspirators contrive to throw the guilt upon Zelmira; and Ilo (Garcia), her husband, arriving, they inspire him with the belief that she also aimed at his life, when, in fact, she wrested the dagger from the hand of Leucippo at the very instant he was about to strike the blow. Antenor is elected king, and enthroned, and Zelmira imprisoned. Polidoro, compelled by her absence to quit his place of refuge, encounters Ilo, to whom he relates the truth. Ilo, overcome with joy at his wife's innocence, hastens to assemble his troops. In the meantime, Zelmira is

permitted to escape by Leucippo, who has seen Пlo and Polidoro together. Antenor and Leucippo by a stratagem induce Zelmira to disclose her father's concealment; they take immediate advantage of the communication, and arrest their victims; but Ilo arrives, preserves his father, his wife, and child, and orders the death of the conspirators.

It will be seen that, however deficient in probability, a piece thus constructed may abound in situations of interest and in passion. Such, indeed, is the case with Zelmira. But though perhaps it may be said to equal, if not exceed, any of Rossini's compositions in the combination of the orchestral accompaniments, there is a weight and a gloom about it, which not even the striking characteristic of the composer's manner, his conversion of ornamental passages into the language of expression-no, nor the ve hemence of the style, nor the energy of the instruments, could remove; though there is some of the music effectively dramatic during the representation, there is not a single bar-not even a solitary trait de chant, that the mind carries away. The piece is supported by the clangor of drums and trombones (the whole orchestra, by the way, played most intolerably loud), by great splendour, and by some most admirable acting and singing; but we left the thea tre with litle desire to hear the opera again. We think Rossini has made an injudicious choice therefore. It is inferior to Otello-it is infinitely below Tancredi-nor indeed can we think it adds a jot to the composer's reputation. He was however called for, faintly at first, and with some opposition; but the perseverance of a few, and the curiosity of the many, aided by his fame for other deserts than Zelmira, wrought upon the house, and he was led on by Signor Garcia, and supported by Benelli, the acting manager. Few, we believe, in any other situation, would have recognized, in the short fat figure they dragged reluctantly half a dozen feet from the side scene, the animated Rossini, the composer of thirty-three operas, the idol of musical Europe, and the irresistible seducer of female hearts. The conversion of Liston into a Philander at Drury (by the way, the endurance FEB. 1824.

of Philandering is a national reproach) presents not a more ridiculous practical solecism. If what Bombet or Stendthall (whichever it be) relates is true, that two of the prettiest women in Italy rushed suddenly into Rossini's apartment at Bologna, to contend for his heart and person, it inspires us with the delicious anticipation, that the two captivating French actresses who occupied one of the lower boxes on Saturday night, and the sight of whose beauty was worth all Rossini's Zelmira, may, when they read of our devotion, climb to our solitary bower, where this our first public homage to their charms is indited; for we (notwithstanding our plurality) are quite as slender, and bear as near a resemblance to Adonis or Endymion as il maestro himself, though it must be confessed that he has some advantage in point of youth and reputation. But we are to the full as lovely; and if the science of Gall and Spurzheim holds, at least as loving to boot. Well then, Rossini was wooed and not unsought was won, to receive this omaggio al merito, almost new to England; he bowed, and he retreated.

But the whole was awkwardly achieved. "They manage these things better in France" and Italy.

We do not, however, mean to impute, as the daily journals have done, ill-manners or impertinence to the worthy maestro. On the contrary, we are happy to be able to state, on sufficient authority, that all that has been disrespectfully said of his conduct during his visit to the King is false. No man could have conducted himself with a better understanding of the custom of courts than Rossini. His entire deportment was that of a man at ease, yet sensible of what was due to the superior rank of those around him; and if he can be said to have erred at all, it was in the endeavour to amuse, and to show a wonderful faculty, in imitating one of those pitiable beings, whom the humanity and propriety of the English audiences have banished long since from the Italian operas. This, in the presence of females, was, perhaps, more consistent with foreign than with English freedom.

We have often before been struck with the admirable talents of Garcia, but we were never so deeply impressed with his great and various

P

powers as on this night. In fact, he sustained the whole opera. As a singer, his force, energy, execution, and expression, exceed, far exceed all his competitors; and his acting is not less remarkably excellent to those who are acquainted with the natural language of passion of the Italians. His voice has certainly lost the freshness and quality that belong to youth alone, but his genius and his volume are improved by maturity and exercise. He is florid beyond all florid vocalists; but his redundancy is extenuated by the delicious facility with which he flies through melody, and through the most difficult passages, while he surrenders his whole soul to the expression of passion.

The grand novelty was Signora Colbran Rossini, who has been much and grossly misrepresented by foreign publications, if her performance on Saturday can be taken as affording a fair specimen of her powers. Perhaps it might be raised above the ordinary standard; as the application of such a stimulus as was then exhibited to her mind, could hardly fail to exalt her to the utmost, and we 'well know how much depends upon excitement, and particularly where so much expectancy has been previously inspired. Signora Colbran is still a great singer in many respects, though with less volume than is commonly possessed by those of the first class. Her voice resembles that of Caradori in quality, and she has a little, and but a little, more power. Her execution is neat, though very rapid; and her intonation occasionally only faulty, and that in no considerable degree. She coursed through two octaves by semitones remarkably well. Her expression is still fine; there are the marks of a style originally great; her manner is commanding; there is much grandeur in her person, and dignity in her air. Such is the true portrait of Madame Rossini. Francheschi, a new man, is a tenor about a third rate, and certainly better than most of his predecessors. Madame Vestris, Curioni, and Porto, sung as usual, and Garcia, though he eclipsed Curioni, did not entirely extinguish his beams. He was listened to with pleasure, which is no slight compliment, when the natural endowments

and scientific acquisitions of his corival are considered. At the end of the opera, God save the King was sung (verse and chorus) by Madame Ronzi de Begnis, Signora Caradori, and Madame Vestris-the rest of the singers, and the corps dramatique, attending. Madame Ronzi was handsomely greeted. Upon the whole then the new management has given most decided, most laudable demonstrations of an active and energetic conduct of affairs. The house is very tastefully decorated, the scenery and costumes are splendid, and the vocal strength of the company can hardly perhaps be augmented, except by Catalani, whose terms, if report speaks truly, were such as forbid, and ought to forbid, her engagement.

The lessees of the King's Theatre have it in contemplation to originate a Concert Spirituel during Lent, or sacred performances, selected from foreign composers, and to be executed by foreign artists. Whether the Lord Chamberlain will be prevailed upon to interfere, by the proprietors of the winter theatres, is a point yet undecided.

Signor Rossini intends to give four concerts, at which he himself, it is presumed, will sing. He is a very fine tenor; and in the orchestra is said to be scarcely, if at all, inferior to any one now in this country.

The British Concerts will not be revived, nor the Vocal, nor the City Amateur. But a concert for general resort has been arranged at the Argyle Rooms. The proprietors are understood to be Messrs. Bellamy, Braham, Hawes, Mori, and Welch. There are to be nine nights, and the first performance will take place early in March. One act will consist of ancient music, and the other of modern compositions.

Thus with the Ancient and Philharmonic, and the Benefit Concerts, and the Oratorios, there is choice and plenty. But it is also a frequent question in the musical circles will Madame Catalani consent to sink into the auditor tantum? Probably not. Ever since the great provincial meetings, she has been engaged in a tour through the north, taking in her suite two singers (Mr. and Mrs. Bedford, ci-devant Miss Greene), a conductor (M. Pio Cianchettini), a kader, and a

violoncellist. Thus attended, she has -held concerts both in Scotland and in various towns of the North and has succeeded wonderfully. Mr. Sapio and Miss Stephens have made a tour in their different engagements of not less than 2000 miles. Bath, Bristol, and Worcester, are engaged in a series of concerts. The operas at Bath were very successful; and what is singular, Mr. Phillips, a young English bass, distinguished himself particularly.

The establishment of a new gleeclub, at the Argyle Rooms, under Messrs. Hawes and Welch, the proprietors, is talked of.

The first Oratorio takes place on January 30, when will be given Schneider's composition, so much vaunted in the foreign journals, The Day of Judgment. Report speaks highly of it. Mr. Bochsa is the proprietor, and Sir George Smart conducts. Most of the principal English singers are engaged.

The Royal Academy of Music have been reduced to the necessity of requesting the attendance of the Professors gratuitously for a quarter!!!

NEW MUSIC.

Mr. Cramer has two new publications. A favourite Swiss air for the pianoforte as a rondo, and a fantasia, in which is introduced the round, Up, 'tis the Indian drum, from Bishop's opera of Cortez. The first piece commences with an introduction, into which the subject of the rondo is moulded with great ingenuity, and with graceful and dignified expression. The theme, a Swiss air, is a sweet melody of sufficient character to fasten itself upon the mind; but Mr. Cramer has apparently exhausted his fancy upon it in the introduction. In the rondo it appears in various keys, but under little novelty of form or character, and the intermediate strains are in no way remarkable. The construction, as well as the merit of the fantasia, is much the same. The late compositions of Mr. Cramer give some proofs of indolence, or of a failure in the powers of the master; for to what other causes may we attribute the mannerism and poverty of fancy they almost universally exhibit?

Aurora che sorgerai, a favourite air, by Rossini, with an introduction, and variations, by T. A. Rawlings. The first few bars of the introduction are bold and animated, and are principally effective from their contrast with the theme, parts of which appearing in common time, and alternately in the major and minor modes, give it novelty and interest. We cannot bestow equal praise upon the variations, which lose both the character and melody of the subject so entirely, that they would serve equally well for any other air. We regret this the more as they are animated and agreeable, and devoid of every thing like vulgarity. Mr. Rawlings has also a duet full of spirit and variety. It opens with for the pianoforte, entitled, Le Bouquet, a bolero leading to Storace's old air, the lullaby, which is arranged with sweetness, and attention to the character of the subject. When the rosy morn, from Rosina, follows, with two variations, succeeded by a gay and brilliant rondo à la militaire.

Variations to a theme in the opera Jean de Paris, with a grand introduction by J. Mayseder, arranged for the pianoforte solo by Gelinek. Great difficulties of execution, combined with rapidity, are the principal features of the piece. Its effect, therefore, depends on the hand of the performer.

Amongst the arrangements is Paer's overture to Sargino, by Hummel, with accompaniments for violin, flute, and violoncello. This overture is much in fashion in Germany.

The third number of Les Belles Fleurs, contains the Bells of St. Petersburgh, with variations and a rondo by Hummel.

The second number of Mr. Klose's Opcratic Divertimentos, consists of selections from Winter's opera of Timoteo.

Mr. Cipriani Potter has arranged Rossini's celebrated trio, Cruda sorte, as a duet for the harp and pianoforte.

In vain hope's brightest colours beam, an Alsatian melody, adapted to original poetry, with an accompaniment for the harp or pianoforte; and, In these shades, a canzonet, by Lind painter, adapted to original poetry, with an accompaniment for the pianoforte, are very elegant and expressive airs, far above the common.

The great work edited by Mr. Horsley, from the printed and MS. compositions of Dr. Callcot, is out, but we have not sufficient space to enter into its merits.

FRANCE.

The Drama.-No piece worthy of particular notice seems to have been brought forward since our last report, but several more new pieces

are announced as in a state of forwardness, some of which will probably be represented before the end of the month. The second volume of the new edition of Moliere, by M. Aimé