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J uly 15, 1851.] Ktyt Hl&detV 663
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NOTES ON THEATRES. This has been a busy ...
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THE LADIES' GUILD. Much as Vivian loves ...
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MUSIC ' OF THE WEKK. The- near approach ...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Valeria. The Long-Expected Valiria Was P...
nature . When Suilius was accused , at her instigation , he defended himself with so much eloquence that he brought tears into the eyes of Messalina herself , " who , quitting the room to wipe fhem away , admonished Vitellius not to let the accused escape . " These tears were not tears of hypocrisy , I think ; but tears of eensibility . She could weep , and murder while she wept . The nervous excitable organization which made her so insatiable in her lust for excitement , made her also easily moved to tears by the tones of eloquence .
Tragedy is not the place for historical paradoxes . If MM . Lacroix and Maquet really believed in Messalina ' s innocence , they could have written a dissertation to show it ; but their assumption of the fact is intolerable . All through the piece , I felt that the attempt to make this imperial courtezan a chaste and noble woman was an insult to the audience . But it is in keeping with the rest !
These men look upon history as an old warehouse , wherein theatrical masks and costumes are kept for the caprices of theatrical amateurs : enter and choose what you like ! Assort the spindle of Lucretia with the bracelets of Lais ; carry the spade of Cincinnatus in one hand , and with the other Bmooth the tresses of Lesbia ; here is a toga which you may wear with Spanish " trunks ; " here is the mask of a Roman hero which will suit a fast man
to a t ! But how these authors would laugh at me for being serious with them ! They . who have not been serious with themselves ! What do they care about Art , about History , about Taste ? All they think of is " effect . " Don't talk to me about Taste , tell me if such a " surprise" will bring down the bravos ! Poetry , character ; passion , consistency , —all very respectable things in their way , —but the drama can so well dispense with them !
Ah , yes ! it is undeniably true , the drama can dispense with them . The drama has ceased to be an Art and has become an Amusement : poetry , character , passion , consistency , are " not so very amusing , " therefore we employ them not : A quoi bon ? Instead thereof , we show you Rachel in two parts—now the chaste empress , and the next moment the luxurious courtezan . There you have a surprise ! The mere effect of change in costume is worth the finest poetry ! People may not feel the poetry—they are sure to understand the change of costume !
Let me say that Rachel plays her two characters enchantingly . She is grand , dignified , and pathetic as the ' Empress , giving to the nothings of her part a significance which was delightful , uttering the weakest phrases with a look and tone which made them memorable . Above all , I would beg attention to the exquisite manner in which she speaks to her child ; maternal tenderness and familiarity were never more artfully conveyed by an inflexion of the
voice . In the character of Lysisca she tasks language to the utmost to convey any impression of her daring and voluptuous grace , her bright elegance , the brio of her manner ! She flashed upon rny sight as the realization of a Bacchante in her maddening inspiration and beauty , in her exquisite elegance . She looked bewitchingly beautiful , and yet with a something unearthly , unhealthy , feverish , bewildering . For her sake you could do anything , you could commit any folly , almost a crime—but you could not love her !
" C ' est Venus toute entiore a sa proio attach 6 e ;" but it is the grace and fascination of a orgie , not the gentle lovingness of a pure heart . Horace , Catullus , Tibullus , and Anacreon are brilliantly illustrated in Rachel ' s Lysisca—she is Lalage , Lydia , Lesbia , Lais—the ideal of the Greek and Roman courtezan ! But when all is over , when you have wondered at the picture of that voluptuous Lysisca , applauded her expressive Kinging—the very voice having a certain
feverish treinulousness in it— -and marvelled at the talent of the actress , what remains ? You leave the theatre admiring Rachel , but what do you carry away with you of Valeria ? No more than if you had but jiiHt gaped at a tight rope dancer I Of all that bustle , all that situation , all that intrigue , all those effects that have kept you restless , curious , Btartled . during four mortal hours , nothing remains but u Kcnse of fatigue ! And this they call the triumph of dramatic Art !
J Uly 15, 1851.] Ktyt Hl&Detv 663
J uly 15 , 1851 . ] Ktyt Hl & detV 663
Notes On Theatres. This Has Been A Busy ...
NOTES ON THEATRES . This has been a busy week . Her Majesty lm « visited the two operas in state—a ceremony which ftlways excites an enthusiastic curiosity perfectly incomprehensible to me . But the mob dearly loves * i " tfltow , " tuul there is no mob more thoroughly
vulgar than a fashionable mob . At the opera Thalberg ' s Florinda was given ; at Covent Gardn , Mozart ' s II Flauto Magico : —on this latter I shall have something to say next week , as also on the Nozze di Figaro , wherein Sophie Cmvelli made her appearance as Cherubino . Certainly Sophie ' s ambition is wide enough !—to make a debut in Fidelio showed immense confidence ; but after
Fidelio to play JSorma , and . after Norma to play Cherubino ! Meanwhile it is pleasant to record the fact that Ronconi has appeared , though in so insignificant a part as that of Ricardo , in I Puritani : as Figaro , Podesta , Dulcamara , Iago , & c we may now hope shortly to see him . Then there is Alboni back again amongst us , after her Parisian triumphs . Willshe play Fides here , with Viardot at the rival house ?
I tried on Tuesday to see Buckstone in the new farce Grimshaw , Bagshaw , and Bradshaw ; but as fifty people bad been turned away before my arrival , there was of course no seat . I went away with the reflection that that was criticism enough . The burlesque of Godiva at the Strand then attracted me ; but I seemed doomed to waste my evening , for on my arrival the applause which saluted the fall of the curtain was roaring forth its criticism .
The Haymarket has produced Mendelssohn ' s operetta Son and Stranger , which though a slight affair is—I speak by report—full of charming music and worthy of the connoisseur ' s attention . Helen Faucit is to play for three nights at the Olj * mpic . Very good ; but why only three nights ? It is true they have no tragic company to assist her ; but with an engagement or two , their present company may be made to pass muster .
One line will suffice to chronicle the appearance of the Spanish dancers at her Majesty ' s , and their non-success . De gustibus , & c . ! Things so peculiarly national , one would think , must interest every other nation ; but although the lustrous eyes of Dona Petra Camara inflamed all Paris , they left London cold .
The Ladies' Guild. Much As Vivian Loves ...
THE LADIES' GUILD . Much as Vivian loves and admires Music , there is one thing he loves and admires more , and that is Woman ! As 1 often say , Woman is the Music of life : the very discords and dissonances she creates only give a profouhder compass to the harmony , a subtler beauty to the expression . These discords are resolved into concord , as lovers ' quarrels end in kisses .
A friend who knew the profound homage of rny heart for all that rela t es to Woman , sent me a prospectus of the Ladies Guild , just started under the presidence of Miss Wallace . The scheme is , that of an association of educated women for the execution of certain works which may give them remunerative employment . The art of decoration in glass—for which invention Miss Wallace has obtained a patent , and throws it open to her sexis the Art at present contemplated by the Guild ; but of course the same principles would admit of endless application . I will now let the prospectus speak : — " To bring the whole plan into operation , the following means are suggested : —
" 1 . To have a School of Instruction in the Art ; and one is now commencing , in which , for the sum of two shillings per week ( to meet the expenses of rent , material , instruction , & c . ) persons above the age of twelve are taught . As last as the pupils produce saleable articles , these will be sold for the benefit of the persons who have succeeded in making , them . The school is at No . 4 , liuasell-place , Fitzroy-squure , where applications for admission to the class may bo made . " 2 . Further : —Ladies possessed of fortune , who would like to aid in the establishment of the Ladies ' Guild , are invited to do bo by advancing sums of money ua lonns , ut the interest of three per cent .
" ii . And ladies of fixed moderate incomes ure invited to form an Associated Home , in connection with the ( Juild ; by which means those now resident out of the metropolis can join in the movement , and , moreover , live at fur less coat than any individual cun do in n separate position . " All communications to be addressed—Mrs . Hill , Vice-President of tho Lndics' Guild , 4 , Kussellnlace , Fitxroy-BquHre . " If any of my fair readers feel disposed to join this Guild , they have now the necessary information and permission of Vivian .
Music ' Of The Wekk. The- Near Approach ...
MUSIC ' OF THE WEKK . The- near approach of the end of the reason causes , an usual , a rush of conceits . At the Beethoven Jlooinw on Friday , fcuwrnor Riba « , the
eminent flautist , had a crowded audience . A concerto of his own composition , abounding with the most sparkling flute passages , was one of the principal features in the programme . A new violinist appeared , Herr Laub , and created a great sensation b y his performance of an adagio and rondo by Vieuxtemps . His execution is wonderful , and his expression actuated by a fervent imagination . Signor Piatti acquitted himself with his usual excellence on the violoncello ; Don J . and Don R . de Ciebra gained an encore in a duet for two guitars . Among the vocalists were Miss L . Pyne and Herr Stockhausen .
In the evening the " Elijah" was repeated by the Sacred Harmonic Society , and appeared to be thoroughly appreciated by a . crowded hall . We experienced a most agreeable surprise in M . Jules Stockhausen ' s rendering of the part of Elijah , vice Herr Formes ( absent ) . We have never heard the beautiful air " For the mountains" more expressively rendered . Though M . Stockhausen has by no means the power of the great basso Formes , he has the great advantage of a more distinct articulation of the English language , and a smoother style of singing , with , at the same time , no lack of energy and conception .
The committee of this society would do well to try and find out what vocalists are studying such increasingly popular music as is contained in " Elijah . " We doubt whether M . Jules Stockhausen would ever have sung at Exeter-hall except in such a case as this . Miss Catherine Hayes , too , exquisite singer as she is , is not qualified for the soprano part in " Elijah . " There are , other sopranos waiting to be heard . Where is Mrs . Sims Reeves , who sang so well in "Elijah" for Mr . Hullah some two or three years ago ?
On Saturday , Miss Kate Loder , one of the youngest members of the profession , had a densely crowded auditory at the Queen Ann-street Rooms , as a fitting tribute , to her talent . Miss Loder ' s pianoforte playing is in the highest school , and her compositions display a vigour of thought and harmonic resource seldom met with . A violin quartette , composed by the btntficiaire , was well executed by Ernst , J . Day , Dando , and Hancock . Miss Dolby and Miss Catherine Hayes were among the vocalists .
The last concert of the season of the Royal Academy of Music also took place on Saturday . Two original overtures were given . That by Mr . Bannister , an associate , was uneven , but displayed some good points . The other by Mr . Cusens , though possessing few novel features , was yet melodic and well wrought out . The instrumentation was bold and effective . One of Hummers rondos was brilliantly delivered by Miss Parker ; and a solo on the cornet by Mr . Hay , the florid air by Marliani , introduced by Grisi into the " Otello , " sung by Miss Oakley , and the bass song " In diesen hciligen , " from the " Magic Flute , " gave great satisfaction . An attractive portion of the concert was a selection from Macfarren ' s cantata
" The Sleeper awakened . " The Musical Union brought its labours for the season to a close on Tuesday morning , when Willis's large room was crowded by the most distinguished artists and amateurs . The principal pieces were Beethoven ' s tenth Quartet in K flat , played by Messrs . Laub , Deloffre , Hill , and Piatti ; Mendelssohn ' s Sonata in D , for pianoforte and violin , played by M . Charles Halle and Signor Piatti ; and Onslow ' s Quintet in A minor , the contrabasso part being executed with a wonderful combination of power and delicacy by Signor IJottesini . Mr . Ella deserves great praise for his direction of this valuable and excellent society .
On Wednesday , the last meeting of the Beethoven Quartet Society was held at the New Beethoven Rooms , which were crowded to the doors . The four greatest violinists in London—Ernst , Sivori , Sainton , and Cooper , with Hill for the viola , Rousselot the violoncello , and Bottesini the contrabasso , contributed to produce an executive excellence as superior an novel . This society , originally established by the late Mr . Alsager , is now not
solely devoted to the works * of Heetlioven ; but compositions of the highest order arc judiciously mingled with those of the great master in harmony . In the morning Mr . Brinsley Richards , one of our most accomplished pianists , provided an excellent performance of classical and modern pianoforte music . In Steibelt ' s beautiful sonata m E minor , for piano and violin , l' < : ™ m accompanied by Ernst ; in Mendelssohn ' s " Thcina con Variasuoni / ' by Piatti ; and afterwards ho performed
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Citation
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Leader (1850-1860), July 12, 1851, page 19, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_12071851/page/19/
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