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NEW YORK EXHIBITION OF BRITISH ART. It i...
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OLYMPIC THEATRE. We find we were in erro...
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MADAME RISTORI. We are compelled to post...
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LES BOUFFES. This merry little company w...
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THE MUSICAL CONGRESS AT THE SURREY GARDE...
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THE VOCAL ASSOCIATION AT THE CRYSTAL PAI...
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THE PRIVATE EXHIBITION. A small and inte...
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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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The Hatfdejq Festival. Tub Handel Festiv...
to an oratorio in broad daylight , in perfect physical comfort , with neither too little air nor too much heat , —relieved moreover from that oppressive sensation of ' being packed in a barrel liked pickled herring , '— -the predominant sensation in most concert-rooms . It was new to have such a vast array of performers * and the feeling of novelty and of grandeur was sensibly increased by the visible fact that each individual listener was only one unit in that vast concourse of human beings who paved nave and transept , and hung in clusters around those galleries which seemed suspended from the crystal walls . There was , indeed , everything to delight the senses—colour , and light , and sunshine , and life , and vegetation , and above all harmonious sound . The place , in short , was worthy of the
. . Often as we have heard the Messiah , we must say that the supremacy of Handel ' s genius was , to our mind , never so powerfully demonstrated . The solos we pass by . With the exception of Clara Novello , whose clear , silvertoned voice pierced with thrilling effect to the very loftiest corner of that gigantic roof , there was nothing to excite our admiration . We have heard the same songs sung with infinitely more effect in Exeter Hall . Nor could we avoid the disagreeable contrast between the breadth and power of the rest of the performance and that qf the individual singers . Bat no doubt the artists did their best . The defect was inherent in the nature of their task . The effects however which we went to hear were the great choruses * and they realized all our expectations . Absolute as our belief was in Handel's greatness , that chorus , For unto us a child is born , ' seemed to demonstrate that his music is capable
of any amount of expression which human power can give it . iso majestic , and yet so simple , are his compositions , that if the chorus of 2000 voices had been multiplied into a nation , the grandeur of the effect would only have been amplified . The framework of these inspirations is so broad and deep that no utterance is too great for them . The ideal in Handel ' s mind is so consummate that it seems , even after tlie lapse of a century , as if musical artists were still wearying themselves to find out the mode in which adequately to express and embody his conceptions . There can be no surer test of the sublimity of his genius . As Shakspeare has never yet found an actor who can thoroughly represent the characters he has drawn , so Handel has never yet found an orchestra or a choir which can do his idea justice . But yet we only do Mr . Costa justice when we say that he has done more than any other man towards the attainment of this end .
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New York Exhibition Of British Art. It I...
NEW YORK EXHIBITION OF BRITISH ART . It is in contemplation to organise in New York an annual exhibition of the works of living British artists , painters , and sculptors . There is good reason for believing that such an exhibition would be welcomed by the Americans . The wealthy classes in New York are well known to be lavishly sumptuous in the arrangement and decoration of their dwellings , and it is confidently anticipated that they would be glad not only to call in the aid of fine art for this purpose , but to have its productions brought home to them for that constant contemplation and study which exhibitions and museums of a similar order receive from the cultivated classes—indeed , from all classes—throughout Europe . The taste for
art is growing in America , as it inevitably must grow with advanciug wealth , population , and resources : Americans are already in " Europe keen competitors at any sale of objects of vertu , or of antiquarian interest . The success which appears to have attended the exhibition of paintings of the Dussseldorf school , now for some years established in New York , may also be deemed an encouraging precedent ; it is difficult to imagine that , if the works of this alien school excite the interest of Americans , those of a race to which they are so closely allied in blood , character , and tradition , will be otherwise than successful with them . Should the experiment prosper , it is hard to say where its results will stop . It would promise to be , in fact , the creation of a second public for British art , only inferior in importance to the public at home . The influence , also , of the exhibition upon the native art of America would probably be early and decisive , and a mutual action and reaction would be established beneficial to both . Active measures are already in progress for making the projected ' exhibition
a fact , Mr . Augustus Ruxton , the original projector , left London for New York at the beginning of May , with the view of communicating witli eome of the leading men in the States , and of obtaining a gallery . Mr . Foud Madox Brown , the historical painter , has consented to accompany to America the works that may be offered , and to superintend the hanging , and all other such preliminaries . Contributors may therefore rely upon it that justice will be done to their works . An unexceptionable guarantee fund will be obtained before the works are removed for exhibition , including ample insurance , to the extent ,
probably , of not less than 50 , 000 / . An eligible offer has already been made for this purpose ? and one main object of Mr . Ruxton ' s visit to America is to pro & ecute further inquiries on the matter . Exhibitors would be relieved from all expenses of transport ; but a moderate per centage , to be fixed before final arrangements are made , would be charged upon the sale price of any works disposed of out of the exhibition . The first exhibition will , it is hoped , be opened in New York in October next , and remain open for some months ; and it would be for the contributing artists to determine whether any of their works which might remain unsold at the close of the term should be returned to them ( transport free ) , or should be left to reappear in the exhibition of the succeeding year .
The entire collection is to be in full readiness by the end of August for the transit to New York . We are glad to learn that this excellent project meets with the sympathy and eupport of many of our leading artists , amongst whom wo may already mention Millaib , Holman Hunt , and E . M . Waud . The American native artists and some capitalists and public men in tlie United States receive the Idea -warmly . We heartily hope a collection worthy of both countries maybe formed . Mr . William Robbbtti will act as secretary ; hia ability and energy are a pledge that nothing will be wanting on this side of the water to secure success .
Olympic Theatre. We Find We Were In Erro...
OLYMPIC THEATRE . We find we were in error last week in announcing the name of Mr . Emeiiy , the actor , as the future colleague of Mr . Robbon in the management of the Olympic Tiibatrh ! We hope to see Mr . Emery's name in Ihe now company , but it is Mr . W . $ . Emdbn , the treasurer of the theatre , who is to succeed to the management , in conjunction with Mr . RonaoN , in August next . " Mr . IIobson , " says the Times . " Is known to all London as ono of the most attractive comedians of the day ; Mr , W . S . Emobn , although not visible to the public , is almost equally
celebrated in theatrical circles as a man thoroughly versed in all ti " ~ ( on and off the stage ) connected with dramatic establishments •'' Fr Us . Iness know and hear of Mr . Emden , we are disposed to congratulate Mr * S We whose name is as good as a host , on his alliance in the new man 8 Oy ' with a gentleman universally respected , whose administrative tact in * ment conciliatory manner and judicious enterprise will , we are persuaded h * gy ' to be of rare value in sustaining the high reputation of the Olympici tar i ! look for the production of a , . series of original English dramas * anawu say original , we do not mean ingeniously compiled from half a ' dozea V ? w ? plays or novels , but purely and absolutely English in invention , p lot el n « * l and composition . Already we hear that Mr . Wilkie Collins e s p ' owS J beautifully written drama , The Lighthouse , acted a year or two ago at Tavi ? 1 House by Mr . Dickens and his family and friends , is to be produced Th * good news for the frequenters of the Olympic . Mr . Robson will perform M Dickens ' s character of old Aaron Gurnock ; and he is certainly the onlvm *' who could safely risk such a perilous comparison . * n
Madame Ristori. We Are Compelled To Post...
MADAME RISTORI . We are compelled to postpone our notice of Comma . Next week , Madame Ristoki will appear in an Italian version of Dean Milman ' s tragedy of Fazio If we may judge from the effect produced at the rehearsals , Bianco , is likely to be one of the most affecting and impressive of the great Italian tragedienne ' s impersonations .
Les Bouffes. This Merry Little Company W...
LES BOUFFES . This merry little company will , we are very sorry to say , be obliged to take their departure from our shores the week after next On the doors of their little summer-house , in Paris , is inscribed : " Relaehe—Spectacle a Londres" we believe they are engaged to perform in the chief provincial towns of France before their return to Paris . Since our last notice , they have produced several of tlie choicest pieces of their repertory : Les 66 , U Opera aux Fenelres , LeSavetier et le Financier , have been particularly enjoyed . Perhaps they have done wisely in selecting what we may be allowed to call pieces de salon—musical comedies finished as cabinet pictures—in preference to the broader and more exclusively Parisian farces , for the St . James's audiences . Nevertheless , Les deux Aveugks , with the colossal fun of M . Pradeau , have steadily maintained their promi
nence . Le Financier et le Savetier may be considered as a sort of burlesque commentary on the fashionable vices of the day—gambling and speculation . The author , we believe , is not really M . Hector Cremikux but M . Edmond About , who has achieved an agreeable triumph in permanently adding to the repertory of this company so brilliant a trifle . La Fontaine ' s fable based on a story in Horace ' s Epistles ( Lib . i . Ep . 7 ) has been drawn on for the title and the plot ; but the catastrophe and the moral are quite new . Belazor , the Financier , is shocked by a proposal of marriage made to his daughter by a happy cobbler ; and determines to ruin him on the hint of the fable by making him a present of money . But he
finds that times have changed . In these days not only is money happiness , but it bestows a gentlemanly demeanour and every other fine quality . We see in the career of the cobbler that of many of the haughtiest lords of finance of the Empire . In a few minutes , by a lucky turn of the cards—for he hustles his way into Belazor s society—he becomes a rich man , and strips his malicious benefactor . Then the tables are turned . The pompous capitalist , admirably played by the unctuous Pradead , becomes Vulgar and mean at once when he has lost his money ; and the cobbler is transformed into a lion . M . Mesmacre and Madlle . Mareschal respectively played the Cobbler and Aubepine ; aud this sparkling drollery with a profound moral was keenly relished .
The Musical Congress At The Surrey Garde...
THE MUSICAL CONGRESS AT THE SURREY GARDENS . This commemorative jubilee of sacred and profane concerts has been eminently and deservedly successful , and has attracted thousands over the water . M . Jullien has surpassed all his former efforts in the organisation and conduct ot a perfect army of instrumental and vocal performers , and it would be churlisn to deny that to his extraordinary energy , ability , and enterprise is mainly due the creation of a popular taste for the best music , and the possibility ot providing the general public at the lowest price with a series of periormances unsurpassable in Europe both for quantity and quality .
The Vocal Association At The Crystal Pai...
THE VOCAL ASSOCIATION AT THE CRYSTAL PAIACL . The Vocal Association , consisting of three hundred voices , under theM ™<* of Mr . Benedict , will give their first public concert in the centre transept oi ine Crystal Palace on Saturday , tho 27 th instant , at three in theaften °° - " will be interesting to compare this young and improving isomV J ^ " £ German brethren of the Cologne Ciiokai . Union . When the two socieue met in friendly rivalry at the Kanovek Square Rooms on the eyein g of Mjy d" ^ Hebr Franz Weber complimented Mr . Benedict enthusiastically up ° « proficiency already attained by his band of choralists .
The Private Exhibition. A Small And Inte...
THE PRIVATE EXHIBITION . A small and interesting collection of pictures is ¦ ' "Mbited-we ¦«« «» jo ^ £ e * hibited-at No . 4 , Russell-place , Fitzroy-square . ' 1 he pamter oro « ' class onco derisively called Prro-Raphaelite Brethren ? and it prcsen *¦ » v * Jftho specimen of their work . There is no clue in the catalogue to the p rpose oi exhibltion-whether it is to vindicate P .-R . B . principles , or £ ™ o ™^ P .-R . B . are no longer P .-lt . B .-that tho ' school isonly a P ^^ ^ ' Tho and not a < school' in the painter ' s sense . It might be taken oither w g . § great master of the school , Millais , belongs more to tho post tuan ^ Raphaelite epoch , as may he seen by tho beautiful hea < of wjlru o ^ the < wedding cards' tiiat doom her hopes . If i » raj-rtux > l » ujl » MB « i m «« w students go back from mannerism to nature , and use pigments oniy * J * ^ something worthy of labour , they have done well , and " ™ ° r ""¦* '' In this ceeded--witnes 9 Millais ' s works jxurfm , Holman ^""^ JJSJ' ^ SerAu but n . l , IM » inn « .... i . r . ~'« LnrMlttMAriGfl ., OmARLES COLI'INS ' S lUtCUSOiy w" «* omiwnb
painful sketch ' Tho Long Engagement , ' und oilier works , not *< Dickinson ' s ' Rio Pcsaro . ' kin ( j of ordor . Still more interesting would be an exhibition arranged in tome wnu ^ A chronological order would be good , showing the progress o * —and its egress .
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Citation
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Leader (1850-1860), June 20, 1857, page 20, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_20061857/page/20/
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