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THEATRES. Want of space must prevent my ...
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POLITICAL AND SOCIAL. ?•
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PATRIOTISM A "CHARITY." Organization has...
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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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Sappho. The Announcement Of M. Gounod's ...
German , and scorning to spoil a good story , I accept the ' ' Lover ' s Leap " as veridical . It is true she had a horror of death , and ingeniously said— " Death must be an evil , otherwise the gods would die . " , A 7 ro 9 yaicr / ojv kcckov' oi Seo * yap O £ t « KlKflKOLlO-lV .... but when she said that , Phaon had not slighted her ! To conclude these details , Sappho is also said to have been implicated with Alcseus in a conspiracy against Pittacus ; and of her personal appearance we learn that she was a dark brunette , and very small .
I don ' t know why , but Sappho has been more frequently chosen as the subject for an opera than any other historical or mythical person—and with uniform success . M . Augier has given a new turn to the story , but he has not given it a new charm . He has departed from traditi n , but gained nothing by his boldness . Judge : — The scene opens with the the Olympic games at Lesbos ( where , by the way , Olympic games were never held , " but that ' s not much" ) . Alcseus
and Sappho are about to dispute the prize of Song . Phaon , who has hitherto been captive to the charms of Glycera , a courtezan—Oh ! but a courtezan in the frank corruption of the term , not a semi-modest aesthetically cultivated Lesbiannow feels his heart inclining towards Sappho , and when she conquers in the poetic struggle—when she gains the choral homage of the crowd , he falls incontinently in love with her as many a youth does with Giulia Grisi : —
Ciascun t ammira , ed 10 t ' amo ! I forgot to add that Alcanis is plotting against the tyrant Pittacus ( what a profound misconception iiere of the meaning of the Greek word " tyrant " !) , and instead of chaunting about love , he sings in praise of liberty ! Altogether this scene would have made a Greek smile , and would drive a German commentator mad . As if to make the anachronism more complete , M . Gounod has borrowed phrases from the Marseillaise to make up his hymn to liberty ! Let us furyet we are in Gvppc . c and rcmpnihcr Let us forget we are in Greeceand remember
, only that i \ le ; Kus is plotting against a despot , and has brought Phaon into the plot . In the second act . we find Sappho as the mistress of Phaon . It opens \ vi . Ji an orgie—a stage orglc , with " . supers " lvcumbent on couches , slaves pouring nothing info liuye gilt pasteboard goblets , together with an air of solemn enjoyment on the part of the chorus casting anxious looks at M . Costa ' s baton . Gloria a liucco ! they sing , and with ( he amount of vinous inspiration to be expected from men at , thirty shillings a week intoxicated by " property" wine . Having cbaunted Bacchus , they throw dice for the honour of slaying the tyrant . Pliaon is the
favoured one . lie . signs the manifesto , and ^ ive . s it to Pythias to " get copied . " More "Glory to Jkicebus , " and — exeunt conspiiators ! leaving Pythias to Glycera , who now enters , full of jealous wralli at Phaon's abandonment . Glycera , as L intimated , is a frank courtezan : a person of historical reputati n , a Grecian Sophie Arnould , whose ban mots were circulated aL every Symposion . One of these 1 remember ( it has found a place in the collection of the celebrated Joseph Miller ) : — A gallant youth presented her with a jar of rare wine , informin g her it was eighteen years old . "Him ! " she replied ; "' t is very little of its age ! " [ N . IJ . 1 should not like to have put Glycera dans scs meubles !]
To the plot , however . Glycera coaxes the manifesto from Pythias—sells herself for it , in fact . Once possessed of this instrument of torture , she proceeds to avenge herself . Threatening t ) betray Phaon unless Sappho bids him fly , and . swears not to accompany him , Glycera makes it appear to l'haon that Sappho no longer loves him ; but that . she , Glyeera , remains true as ever . Pliaon thus—inverting tradition—becomes the rejected
one , and departs with the witty unscrupulous Glycera . In I he third act we find them on the sea shore . Sappho , from behind a rock , hears him curse her ere he quits the shore , and sinks down senseless from despair . Here there is a touch of real poetry ; what . Schleicrinaclier would call tragic irony . While Sappho is in her swoon , a Khcjpherd descends from the rock , carolling this pastoral , which has the accent , of Theocritus in it : — J'Yed , feed , my gentle Hook , Feed on the fragrant , thyme ; The swoct Aglue thin morning liun pre « ned her lipw to mino .
I await the rising Venus , To meet her on the way : Come forth , O star of love , From heaven dispel the day . There he stands , pipe in hand , piping and singing on the ledge of rock , singing of Aglae and love , while at his feet lies the broken-hearted Sappho I He disappears and she awakes , seizes her lyre , bids adieu to life , and flings herself from the rock . There : I have taken unusual pains to tell you the whole story of this opera , because the work is that of an accredited poet , and ought not to be
disregarded . There is no need to disguise my opinion of its triviality and want of dramatic tact . With regard to the music I feel somewhat more diffident . A first hearing is never sufficient . With a work of so much originality and elaboration one may reasonably suppose that familiarity will greatly enhance enjoyment . In all that I am about to say . therefore , be pleased to read only first impressions , which may possibly be modified hereafter ; though in essentials I do not think any modification probable . I cannot be mistaken , for
example , in denying the work beauty of melody . M . Gounod has melodic ideas , but he never developes them ; he does not treat hh theme in a broad sequential manner , but splits it up into fragments , so that the ear is always on the stretch . This objection is fundamental . No familiarity with the music can affect it , although it may discover phrases of ravishing grace , which passed unperceived at first . Moreover , I miss the essential qualities of dramatic music—viz ., life , impulse , daring ; and this is shown to a remarkable extent in the concerted pieces , and in all those
places ( not choral ) where dramatic expression-is most exacting . But it is impossible , I think , to be insensible to the very great merits of Saffo as a musicianlike work . A first opera is rarely a chef-d'eeuvre j but M . Gounod may still write one . The public will at least recognize his originality , his contempt for commonplaces , and for the facile ad captandum effects of modern writers . The orchestration was in many parts very captivating ; rich , without being noisy , and ingenious , though inclining to excess in modulation . The opening chorus
prepared me for a very great work : its structure is noble and imposing , and its rhythm energetic without violence . The air which follows—deliciously sung by Tamberlik—is pretty , though too much in llie style of Mile . Puget ' s romances ; and the chorus of priests , "O Giove onnipossente , " is very striking ; especially the accompaniment of harps , niuilled cymbals , and drums , which pulsate mysteriously , at regular intervals , beneath the mass of instrumentation . The hymn to Liberty , sung by AIcumis , is poor ; that of Sappho to Love is not
much better . Tim finale was greatly applauded . It is written upon the well-worn device oi giving the theme lo orchestra and chorus ; if not the most enduring of effects it is always certain to rou . se an audience . In the second act there is a , decided falling oil ' . Kxcept the chorus of conspirators , Not , yittrium inortt : — which recalls Meyerbeer in its structure , and a lively duet between Pythias and Glyeera , the accompaniment to which is delicious—the whole act . seemed to me dull and undramatic . The thud
act is but a scene , and that uidiliercnt : the one redeeming thing being the shepherd ' s song , which was deservedly encored ; it , is a fresh , naive , pastoral , and sweetly monotonous air , with a monotonous accompaniment perfectly in keeping . On the whole , the opera had a succes d ' estime . It is one of those works which make you compliment the author— -and stay away . It does not , amuse you , but you feel that it is very dever , and Ilia ' , \ on must . not . poohpooh it . As to the * enthu
siasia and plaudits which his friends anticipated , there was nothing of the kind : the house was respectful and cold . Instead of welcoming a great genius , they seemed to say- — " We wish this opera were a trifle less artistic , and somewhat more melodious and amusing . " Not , that , audiences are judges ! Nol , that Gounod ' s claim to genius is to be estimated by their applause ! lie may still justify the grand hopes of his friends . I do not , think that , iiiif /' o will do so .
The opera was well mounted . The orchestra admirable , as usual ; ( lie chorus wanted . some extra rehearsals to hubdue their rebellious bawling ; ( he singers did ( heir best . Tamhcrlik , as Pliaon , sang ungrateful music with thai , expression and beauty which lie throws into all parts however poor . Tamburini was comic in the wanton old Pythias . Castellan looked extremely pretty as Glycera in a dress similar to that worn , by Rachel inLycisca
but oh ! the difference in grace , languor , volup . tuousness , and corrupt intelligence ! Her acting was not more inane than usual ; her singing as good as the vexatious music would allow . Viardot I never saw to less advantage . She was monotonous and ineffective . Very different indeed is the Sappho of my imagination ; and I felt somewhat balked by seeing such a representation .
Even Aristotle says she was beautiful ; and although a philosopher ' s judgment in that respect may not perhaps be the most authoritative , still you know Aristotle was a Greek , and as such a connoisseur ! But apart from physique , I was wearied by the monotony of Viardot ' s acting ; and I must take the first opportunity of seeing her in L'Elisiro d'Amore , or the Prophete , to get rid of the impression .
782 Q£1)T 3lra6^T* * [Saturday
782 Q £ 1 ) t 3 Lra 6 ^ t * * [ Saturday
Theatres. Want Of Space Must Prevent My ...
THEATRES . Want of space must prevent my doing more than simply recording in a line the success of Balfe's Quatri Fratelli at her Majesty ' s , the lively music bearing very well Italian transformation j—the success of Angelo at the Olympic ( an adaptation of Victor Hugo ' s play ) with Mrs . Stirling as La Tisbe ; —the successof Mr . EdivardFitzwilliam ' s opera , The Queen of a Bay , at the Haymarket;—and the conclusion of Bouffe ' s engagement which is also the concl usion of the delightful season of French Plays . For criticism you must wait till next week . Vivian .
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Political And Social. ?•
POLITICAL AND SOCIAL . ?•
Patriotism A "Charity." Organization Has...
PATRIOTISM A " CHARITY . " Organization has no sinew among us . Its bond of union , is composed , of tow . Patriotism is a sort of charity . Reformation is not a business but a philanthropy ; and of course patriotism and reform are as accidental as good nature , and as precarious as spontaneous benevolence . An illustration of this has recently occurred , which is worth particularizationnot because there is anything particular in the nature of it , for the instance is common , but because there happens to be an explicitness about it which makes it obvious to those who do not usually notice such
matters . The Friend of the People , which has been for some time conducted by Mr . G . J . Harney , has at length cease I . The spirit in which it has been discontinued is highly creditable to the editor . The salu did not supply the costs of production ; and , determined not to incur liabilities beyond his private power of meeting them , the editor has resolved to stop it . The number in which this announcement appears contains a notice of the mode in which Mr . Harney proposes to occupy himself , which for the present will be by a
" lecturing tour in the North . " It is not the mode in which he proposes to work which excites curiosity , but the mule in which he proposes to support himself ' in the discharge of his public duties . In answer to some questions about terms , his answer is , " I leave all pecuniary arrangement * to the honour and ability of my friends . " Now , as the people Mr . Harney chiefly addresi-es , and prefers to address , are poor men , it follows that they have no pecuniary ability . But whatever their ability may be , it j their honour which will determine the liberality with
which they will use their ability . Mr . Ilurney s appeal , therefore , is to their honour . Yes , it must be to their honour , because after all it is honour that makes ability—for poor men with honour often do more than rich men without it . But the point in discussion is this , that this gentleman proposes to depend for remuneration upon the honou of that unknown assemblage of persons who commonly make ; up a Chartist meeting . lie is n very lucKy man to be able to do this , lli . s nytitem of business l worthy of the peiiod of the Arabian Nights . II « 8 ^ £ Harney made an arrangement with hit * baker , l > cher , and tailor to trunt to hi . s honour ? VYiU 1
landlord , with respect to all " pecuniary arrangements" of rent ., leave that to his honour ? No douui the Railway Companies , one and all , as B ()() n . " * , presents himself at their llooking-ollices , iininodi " M- y hand over to him hi . s ticket , leaving the lI V jj T " arian » einent " of payment to bin honour . ' Haniey could not live a day nor travel a mile on ' uysteni ; and the spirit of integrity in which »« . r < . signed his Friend of the , People , is proof that nnot ' a man likely to attempt it . Then why hIjou i < ^^ put the more important ollice of public Hpe «« - K ^ . jj public iiiHtruction , on u fooling on which ' ""!"• jH make a coal , or Lake u loaf ? The reason ol . tlUH Rc , that Home peiNoiiH in Parliament ., and . ' rtal " j- , , co formers out , have <« t various times made it an <> ' xX to be a " hired orator . " If by that in intended a ^ who npeakH because Ik ; is hired , and who 8 I > * UHll , hire without icuieiieo to conscience , then . : * ' liny tion in one to be avoided ; and iu order to avoid ii
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Citation
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Leader (1850-1860), Aug. 16, 1851, page 18, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_16081851/page/18/
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