ON Saturday the 24th of April Madame Pasta made her appearance at the King's Theatre, which seven years ago she left with the discredit attached to a second rate singer, whom nobody would ever care to hear again. Nature, it was universally thought, was against her, and she was condemned to distance and oblivion by the polished judgment of the British public. But Madame Pasta, it seems, was deter mined neither to bend submissively to such a verdict, nor even to acquiesce without an effort in the apparently more irreversible decree of Nature. If the Goddess had refused to her that physical attribute which goes so far in the constitution of a singer as to induce the Italians to compute upon it as ninety-nine out of the hundred requisites, she had at the same time gifted her with the intellectual power that has a mastery over, and can even supply, that which, malgré les Signors, should seem to be an endowment of far less value than they estimate it. Certain it is, that she has contrived to make mind superior to matter; she has set a great example of what industry and study can effectuate; and, in spite of a voice contracted in compass, volume, and even quality, there are few singers who have made more successful or more touching appeals to the feelings than Madame Pasta.

The best judges are of opinion that her style, in so far as respects the delivery of the voice, and in point of grandeur, is inferior to Madame Colbran Rossini; while, however, her tone on the whole, though rather acidulous in certain notes, is rounder and fuller, and consequently falls upon the ear more agreeably. She has evidently more power. Her compass is from A to C or D, seventeen or eighteen notes. Colbran's portamento is really superb, certainly the finest we ever heard, and its delicacy and finish are so distinctly visible by the formation of the mouth and lips, that a singer can hardly receive a finer lesson than first accurately observing their position and movement during the utterance of the note, and afterwards endeavouring

to obtain the same conformation; the very effort (for we have seen it made) will carry conviction to the mind. -But to Madame Pasta. One of her chief excellences arises out of what, in others, is a defect. Her scale is of different qualities, by which she contrives with singular art to vary the lights and shades of her tone and expression. Her sensibility is as exquisite as her judgment is mature; and, far from seeking to take the mere sense of the auditor by surprise, she wins her easy way to the heart by an expression as plain as it is just and captivating. As she came out in Otello, and has played in Tancredi only sinee, she has sung nothing besides Rossini's Music, which is in itself florid enough in all conscience. But her singing is more judicious and less figurate than the manner of the present day, yet her comparatively plain style is not the effect of the want of science, but of a purity of thought and expression which are her own. We may doubt whether her praises have not been a little exaggerated, but she is unquestionably very great, even considered relatively to singers of the first class. As a proof of her originality, may be mentioned her "Oh quante lagrime,” (in Otello,) to which she gave a beautifully pathetic effect, by taking it slower than it was sung by her truly admirable predecessor, Madame Camporese. In the grand entrata of Tancredi, "O patria," and the farfamed aria which follows, “Di tanti palpiti," she also made her success by marking the grandeur and transition of the strong passions exhibited in the brief but rapid sketch, rather than by varying the notation of passages, in themselves sufficiently florid and melodious. Yet she can execute with neat and polished articulation; but she takes the more certain aim, and addresses herself directly to the heart.

On the 1st of May Madame Ronzi di Begnis resumed her duties (after her accouchement) at this theatre in her favorite part of Fiorilla, in It Turco in Italia. Her vivacity, feeling, and facility are so well known, that it is needless to enter into

any description. Her voice, how ever, is mellowed a little by rest; and, as the greatest of her defects appears to be a slight sharpness in her upper notes, when she forces them, which she does in a way peculiar to herself in a volata, she may be said to be improved. Never certainly did any singer make a more sudden advancement than Madame di Begnis in her performance of Elena, in La Donna del Lago. She is a great favorite with the English public, and was warmly greeted.

This Opera also introduced Signor Remorini, a bass, who has enjoyed a good share of reputation on the Continent. His voice is powerful, somewhat limited in compass, but coarse though flexible, and upon the whole not calculated for those expressive passages of tenderness and pathos, which are now more frequently than formerly assigned to his species of voice. The music in the part of Selim is, however, generally speaking very figurate.

The benefit of Madame Caradori (who is married to an Englishman of the name of Allan) introduced Signor Garcia as Il Don Giovanni, and the Signora herself, as Zerlina. Ambrogetti was brought hither by Mr. Ayrton, during his very successful

year of management for Mr. Wa ters, almost expressly to play this part; and it will be recollected that, in the trial between Mr. Ayrton and Mr. Waters, Signor Ambrogetti was examined. He therein stands recorded, in the questions of the counsel and his own answers, as the most perfect representative of the Libertine that Europe had known. There was, however, a vulgar confidence in his delineation, which, though it might pass with the Zerlinas of Italy, or the soubrettes of France, would scarcely have recommended him to the good graces of the Donna Elviras, the Comtessas and Marchesas, whom Leporello enumerates in his Catalogo. The same coarseness was more apparent in his representation of the Count Almaviva, in Le Nozze di Figaro; yet Ambrogetti made a strong impression upon the public. Garcia, however, has made a stronger, for he supported the character with all his animation, and with a superiority of manners, that has set him as far above his great competitor in the

acting, as his voice and science must do in singing. Never, perhaps, did any man maintain so high a place in a musical theatre with so little real musical qualifications, either from nature or from art, as Ambrogetti ; scarcely ever did a man enjoy or ob tain more from both than Garcia.

Signora Caradori is now known as a singer of exceedingly high finish and very delicate taste, though her volume is very inadequate to fill the vast space of the Opera House. She sang the airs of Zerlina exquisitely, though failing in force.

Rossini's new Opera, Ugo, Re d'Italia, is advertised as being speedily to be brought out, but the truth we believe to be, that it is not yet above half written. Yet the Maestro must be in Paris very shortly, if he keeps his engagements there; and a few weeks will empty London. We doubt, however, from the information we have received, whether it can be produced before the middle of June, and then with the imperfections which such haste must inevit ably entail upon a composition so rapidly put together; except, indeed, he has recourse to new modelling his old works; and for arie di baule, his want of foresight, and his abundant confidence in his own fertility when pushed to the minute, leave him heinously unprovided. Which of his heroines he is writing for is not yet known. He has an ample choice-Catalani, Colbran, Pasta, and Di Begnis. In the mean time Romeo e Giulietta is getting up for Pasta. Giulietta is one of her most favourite characters, and Rossini's lively biographer mixes his encomiums upon her performance of it with a very elaborate detail of her qualifications as a singer. Hearing her is even to effect a reformation in the taste of the composer himself, for he says

After having heard her in the prayer of Romeo e Giuglietta, that touchstone for the talents of a singer; after having observed the fine shades which she can impart to her portamento di voce, the power which she can unite and sustain a long of her accentuation, the admirable skill with he would consent to sacrifice to her a pormusical period; I have no doubt but that tion of his system, and consent to be more economical in the use of that multitude of little notes by which his cantilenas are overcharged.

Fully convinced of the feeling and good taste of Madame Pasta, of which she gives such unequivocal proofs in the fioriture of her song, and persuaded how much more certain the effect of that pleasure is, which is produced by the native feeling and spontaneous invention of a singer, Rossini would doubtless leave the embellishments of his song to the genius and inspiration of this great singer,

a

All the musicians in Europe will gree that the sooner he hears Madame Pasta the better, and more especially those who are enamoured of his genius when displayed in such traits as Mi manca la voce, or Questo cor ti giura amore.

Madame Catalani seems to have vanished strangely from the boards of the King's Theatre, and to have appeared no less strangely between the plays and farces of benefit nights to roar out Rule Britannia to the great delight of John Bull. A heavy declension this, and one in every way (except as it shows her good nature) unworthy such exalted talents. But this we suspect comes from grasping more than the arms can hold or the strength support. Madame Catalani, it was said, was to play ten nights before and ten nights after Easter, but she has not performed half a dozen. And yet she is to have a benefit! for what services we ask, in the name of right and justice? This is one of the most impudent specimens of experimental extortion that was ever tried. What! after sharing no less than half the amount of the receipts at the doors besides other emoluments-demand a benefit for four or five nights' performance? We trust such cupidity will be mortified -or rather, we should say, we hope the public are not such fools as thus to encourage the demands even of the first of the vocal tribe. For we can not blame Catalani, if she can treat successfully with managers upon such terms. But they must ruin our pub lic entertainments eventually. See what has been the fate of the latest proprietor of the oratorios! He has been ruined more by the inordinate demands of the singers than by the want of public attendance. It cannot be too often repeated that the rewards of favourite individuals in public life have risen to a pitch that never could have been anticipated, and that never can be fairly earned

by any degree of known talent, without sacrifices of other kinds that are either injurious to the general effect of the performance or ruinous to the conductors-neither of which things ought to be allowed to happen from such a cause.

These observations naturally lead us to an innovation of another kind, and one which appears to be totally at variance with British notions of the powers and privileges of the Aristocracy, and not less disgraceful to those who can consent to be the agents of its introduction. Signor Rossini advertises that he intends to give two Concerts at Almack's, under the patronage of certain titled ladies

the names of subscribers to be sent to the Signor, and thence transmitted to the lady patronesses, who will give vouchers, which are to be exchanged for tickets at a guinea a piece. Several persons of fortune, education, and respectability, not quite clearly perceiving that this is a means of excluding all but those whom these titled managers may choose should breathe the same air with themselves-a mode of keeping out improper people, as they would phrase it, (the Marchioness Conyngham stands at their head) sent for vouchers, and were rejected. This has occasioned such a sensation, that it is apprehended other persons of fashion, who are not quite so exclusive, will demand an explanation, and that there will be some interruption at the next Concert, which will be very shocking to "ears polite." If the Aristocracy entertain a serious intention of bringing themselves (the few) into a dangerous degree of contempt with the nation (the many), they cannot adopt a readier mode; and such a division, they need scarcely be told, will go dreadfully against the powers that be. We hope, however, that these poor rich women will be taught a useful lesson of moderation? One of the most curious parts of the first Concert is the announcement of Catalani and Rossini, for Cimarosa's celebrated duet, Se fiato in corpo avete. It is written for two bass voices, and is, of course, sung by two men in Il Matrimonio segreto, and relates to the exchange of one daughter for another, which the lover solicits of the old man, the father. What can ins

The benefit Concerts have been continual during this month. One of the best attended was M. Sapio's, and what redounds even more to his reputation was, that he stood prominently out by the side of Braham and Sinclair owing to his manly style-the fine quality of his voice, and his (comparatively) plainer style. A younger brother, M. A. Sapio, appeared for the first time as a bass. He has a fine round tone, a good deal of flexibility, and altogether much promise. Miss Paton's singing seemed to confer more general pleasure than that of any other person-Braham in Kelvin Grove (Ò che gusto!) excepted. The Misses Cawse did themselves credit in Paer's Vederlo sol bramo, and the youngest sung La ci darem, with Ambrogetti. The effect was derived (as it must be) from the dramatic manner of Ambrogetti, but the initiation of such a mere

child into such a scene was revolting alike to sound taste, and to the moral sense. They are, however, girls of extraordinary promise.-We have attended several of the concerts which are past, and have looked over the various bills which are to come, but we perceive scarcely any novelties. At the Philharmonic on the 10th of May, Madame Szimanowski, a Polish lady, played a concerto on the pianoforte, in a very good style.

A young Frenchman, a harp player of very extraordinary execution, has, we understand, lately been invited to this country by M. Erard. It is said that he will make it necessary both for Bochsa and Dizi to renovate their practice. Young Leist, the German Pianist, a child of eleven years and a half old, is also come to England. His performance is truly wonderful. He extemporizes with perfect ease, yet with a degree of feeling that is perceptible in every note he plays. The frequency of such instances leads us to inquire how it happens that musical talent is

NEW MUSIC.

The publications are numerous, but not of primary note:

Pauvre Madelon, a French air, with an introduction, and ten variations, for the pianoforte, by J. B. Cramer.

Mr. Cramer is usually most successful in the composition of variations, and although he does not display as much genius and invention in their construction as some of his cotemporaries, he manifests an elegance of taste, and an ease and gracefulness of style that can be more universally felt and understood. The piece before us has not the sentiment of many of his earlier works, it is altogether lighter, but it gives ample scope for finished, delicate, and playful execution.

Mr. Calkin's Divertimento, introducing a Spanish Waltz, has a good deal of merit as an easy lesson. It is somewhat difficult to unite simplicity of construction and intrinsic excellence: thus the earliest reading lessons for children are usually absolute nonsense, or, at best, a mere transcript of their own prattle. In music it is as desirable to cultivate the taste, while the hand is forming for execution, as it is ne earliest stages of literature. cessary to strengthen the mind even in the

Mr. Peile, in his Variations on the air, Aurora che sorgerai, has departed so much from his subject, that in many parts it is hardly possible to recognize it. There is ability in the piece, but not enough to overcome this defect.

The fifth number of Les Belles Fleurs, consists of Waters of Elle, with variations. This collection of duets for the flute and pianoforte, is of a kind to suit the taste and ability of players in general, particularly of the first instrument. The parts are constructed with attention to its character, and the difficulties are sufficiently limited, without the interest being ever allowed to languish.

Mr. Coggin's Six Divertimentes are so many proofs of poverty of imagination. We are aware that they are only arrange ments, and these intentionally adapted in the easiest way, but surely the two instruments need not have proceeded almost entirely in unison. Neither is the selection of the best or most interesting kind, although the airs bear the names of Mozart, Beethoven, &c.

The third number of Mozart's Grand Symphonies, arranged by Hummel, has appeared, also Andreas Romberg's overture to Don Mendoza, arranged by Mr. Horncastle.

A translation of Monsieur Catel's Treatise on Harmony, written and composed for the use of the pupils at the Royal Con

servatory of Music, in Paris, is just pubHished. In the preface, the author observes, that "this method not only teaches the nature of the chords, but also their use, it saves the pupil the trouble of loading his memory with a numerous series of isolated combinations, which, considered as so many different chords, render harmony difficult to be understood, and intricate in practice. This treatise not only teaches harmony, but the first principles of counterpoint." The character of the work is sufficiently described in this extract, and we have only to add, that it has been adopted and printed for this school of national instruction, which, at this moment, perhaps takes precedency of all other similar institutions.

We are sorry to have to commence our abstract this month with an account of the defeat of the British troops, and that in a quarter where it was little to have been expected on the coast of Africa, and by a race of semi-barbarians, called Ashantees. This nation had, it seems, of late made many incursions on the British territory, near Cape Coast Castle, and in one of these had taken an English sergeant prisoner, whom they first murdered, and afterwards mutilated in a savage manner. Sir Charles McCarthy, our governor at Sierra Leone, could not, of course, overlook this insult to the national flag, and prepared an expedition for an incursion into the Ashantee territory. The expedition was formed into three bodies, to arrive from three several points, and then co-operate. Before, however, the junction could be formed, an Ashantee force, amounting to between 10 and 15,000 men, attacked the division under the command of the governor, consisting of about four thousand men, and completely overwhelmed them. The battle was fought on the 21st of January, and lasted from two in the afternoon until six, at which time our ammunition failing, the British were surrounded and completely destroyed. The havock appears to have been dreadful; out of fourteen British officers, only one, a Lieutenant Erskine, is said to have escaped! All the rest, including Sir Charles him

self, who was known to have been wounded twice during the action, were either killed or made prisoners. The fate of the Governor is quite uncertain; he had not been heard of subsequent to the battle, and those who know the sanguinary character of these people would even prefer his death to his captivity. They are said to relax from their rule of refusing quarter only for the enjoyment to be derived from the protracted torture of their victims. Such is the melancholy account which first arrived here through a Barbadoes paper, and which, though not yet confirmed officially, has still been corroborated through so many different channels, that it would be only trifling with our readers were we to affect to doubt it. It is but little consolation to add, that these savages suffered in proportion. We grieve to subjoin that the enterprising Belzoni has also fallen a victim to this fatal climate; he died at Benin, of dysentery, after every thing had been arranged for his progress into the interior. It is difficult to say what remuneration these arid desarts of Africa can ever make to us for the continual sacrifice of British enterprise and genius.

In several of our late numbers, we have alluded to the long promised, and as long protracted amnesty of Ferdinand; and in our last, we prophesied its postponement till "the Greek Kalends." Little, alas! did we dream what the cunning of Le