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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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Masaniello , and although much must be lost in removal from the stage , yet how much of beauty , of music there remains . Some regard this as great praise ; they say that it proves how thoroughly Meyerbeer _ has succeeded in his aim , has adapted himself to the needs of the stage . But hy this argument I can prove Dumas to be infinitely greater than Shakspeare , and Scribe ought to take precedence of Moliere ! _ Meyerbeer's poverty in melody is concealed by the variety , ingenuity , and massiveriess of his orchestral writing . He keeps attention alive j he is equal to the situation ; and with fine singers ( whom he sorely tries , because he has so little vocal instinct ) , his operas are always effective . Let me whisper no word to the contrary ! But when "we come to Halevy , the
incipient evil we find grown into a monster . La Juive is a splendid spectacle ; but where is the music ? My admiration of Fidelio will reassure you , if you fancy by music I mean tunes ; the opera there is rather in the orchestra than on the stage ; but what an opera ! Whereas Halevy is ponderous without massiveness , noisy without brio , cumulative without ascending grandeur . There are delicious phrases scattered through this long score , but on the whole I would rather hear a single air or concerted piece from any opera by Rossini you like to name , than all this ambitious writing . If you want spectacle , go and see La Juive . If you want music , you must go elsewhere . ^ _ . Nevertheless , Covent Garden did well to revive JJa Juive , even as a
novelty . It is not an opera to see often ; but it is an opera one is glad to see . Observe , to see ! You must hear it many times before becoming reconciled to it ; and this it has in common with great works . On Thursday last I saw it for the second time , attracted there more by the debut of the new tenor , M . Gueymard , than by anything else . He is young , handsome , energetic , with a fine manly voice , delivered almost exclusively from the chest , and producing great effects in the vehement declamatory passages , notably in the finale to the first act , wherein Duprez was so wonderful , and in the trio in the second act . But what I have said of Halevy's music applies to Gueymard's singing—the primary musical condition is sacrificed to a secondary and purely theatrical effect ; he does not
sing well , he declaims well ; he rushes at " points" and " effects" in alt , and cares less for melodic expression . In the lobby I heard critics comparing him to Tamberlik , on account of his high chest notes ; but Tamberlik is always a singer , never in the most impassioned altitudes of that incomparable voice do you hear anything approaching a scream . I will not , however , draw invidious comparisons ; nor will I press the point I lightly indicate with respect to our new tenor . He is a decided acquisition , and made a great impression . Madame Jullienne sang with astonishing brio and dexterity , screaming , however , more than any composer but Halevy could , desire . Formes , too , yielded to his favourite "temptation of loudness , and marred very fine singing and acting by overstepping the line which separates Song from Noise . So that what with Halevy's noisy score , Costa ' s tremendous orchestra , Gueymard shouting , Formes shouting , and Mdlle . Julienne screaming , you may imagine the tumult and the clang which assailed our ears during the four hours of La Juive !
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THE MUSICAL UNION . The third concert was more crowded than before , and the heat was so freat , that when Spohr's patchwork quintett tormented my soul I departed , urely Mr . Ella is too excellent a manager to allow us to go through the whole summer with crowded rooms , and closed doors and windows P Ladies were nearly fainting in that highly carbonized atmosphere . I have only a line of emphatic praise to give to Piatti and Halle for their exquisite performance of Beethoven's noble duet , and an emphatic condemnation of Sivori ' s leading of the quartett , which , after Joachim ' s playing at the last concert , was more than over reprehensible .
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LE COLLIER DE PERLES . Flame and Breath are the same thing : they are both combustion . The same , and yet how different J Rose Cheri in TJn Changement du Main , and in . Ze Collier de JPerles is the same Rose Cheri , and yet how different . In the one part her talent flames into bright effect , in the other it breathes upon the mirror which the Drama " holds up to nature , " and we see there nothing but passing forms blurrod and indistinct . After all , the part is nothing of a part—a mere white muslin ! And as I said before , charming though she is , eho is not now fitted for the candid innocence of eighteen : the bloom and perfume of girlhood have vanished , and the sharp features of the French woman begin to appear , not obtrusively , not unpleasantly , bnt unmistakeably . This in the Empress of all the Russias we recognise as suitable ; in sweet eighteen it is like a dissonance . Apropos . Last week I parodied a passage in Shakspeore , and applied jt to her as the Empress , saying tha , t in such a part she must " look the innocent serpent but be the dagger under it . " One of my correspondents kindly informs mo that the quotation is not correct . " It is in Macbeth , and runs thus : ~~ Look the innocent flower And bo tho serpent under it . " Really , now ! "What it is to have correspondents ! This comedy of Le Collier de Paries is very near being amusing . There wo good intentions in it . Tho charactor of tho Banker , who is cruel that he may not be thought bonhomme , and sophisticates with himself in the true spirit of comedy , was well presented . That of the rich American who fancied everything was to 1 ) 0 done with money , was also nicely indicated . But tho development of thoeo characters , so well sketched , would ,
demand more constructive arid dramatic skill than is even hinted at Ti Like many other writers I could name , M . Mayeres has drawn his v ' racters instead of developing them through action "; he has labelled " he V not animated them . ' aas
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THE SURREY ZOOLOGICAL GARDENS are re-opened for the summer season , arid the thousands who were n t anxious to see the Bohemian Girl , in spite of" its increasing attraction " who studiously and pointedly decline to believe" in Buiin , now joyousl flock Surrey wards , to see the wild beasts—Oh !—and the colossal modelled view of Mount Etna- —Ah . '—andthefireworks ^ Goodness gracious !~ and the eruption of Etna and grand tableau on the lake— "Well , I never ! and the flowers , and the feeding of the animals , and the military bands , and the endless giggling , and ogling , and flirting , and the inerritnent which , pours its various tide along the walks of those gardens ! "When I think of the amount of love-making , and consumption of ginger-beer , the w ?™ " foreign Havannas , " and pretty black eyes , the fabulous toilettes , antiquated jokes , which pass before the calm eyes .. of those sedate lions who sit gazing on the holiday folks in supremest indifference , I say to myself , What a feuilleton a Lion of a literary turn would write on this subject ! ... . For that matter , I am a Lion myself , in some select circles of Camberwell and Newirigton Butts ! I assure you I am thought " good company" in Tooley-street , while in Hackney I am pronounced " very talented party . " Ah ! - ¦ "Vivian .
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EXHIBITION OF THE ROYAL ACADEMY . ( Thirds Notice . ) PBITH ' S PO £ K AND LADY MAEY . HistoeicaIi painting has almost been superseded amongst us by comedy in painting— -passion by manners , or such traits of nature as manners do not disguise . The great style has sunk to inrpoteney , and the sole sign , of it is struggling to come forth amid the wild inconsistencies of young men like Armitage . If there is tragedy to be found in painting you must seek it in the petite comSdie , where it may sometimes intrude even painfully . Frith ' s chief picture is of this class : the light , insolent laughter of Lady Mary covers the ghastly despondency of Pope , like a , bright lace veil fluttering in a summer wind over a dead body wounded and rotting . Tragedy there still is in life * heaven knows ; but the veil of bienseance hides it , or
is supposed to hide : Frith has lifted the veil . The subject indeed , though tragic , is not suited to the high historic treatment , nor , we think , to any form of picture . There is this canon to be observed in painting , that in its utmost licence it ought not to teach by indirect but by direct means—not to teach morals by " painting the ugliness of sin , " but by showing the power , the beauty , or the influence of moral truth . Hoearth's satires arean exceptional case . A murder may moral truth . Hogarth's satires arean exceptional case . A murder may
be painted , but it is to showthepower of human vigour in the slayer ; or the magnanimity of the victim . Mere infirmity is an ill subject to exhibit ; and callous levity triumphing over infirmity is twice as uncomely . With a protest against the subject , we must acknowledge that Frith's picture is on the whole the most complete . The story is clearly conceived , compactly and lucidly expressed . The two have been sitting side by side , and the illustrious abortion has been rash enough to declare a practical passion for the lovely and heedless lady ; whereat , r isen from her chair ,
resting her hand on the table , and slightly leaning back , sne is venting an undisguised , insolent , chambermaidish , but neatly conducted j& ugk--spontaneous , but malignant in its overtness . It is all admirably told . -Ine withered debility of Pope , his self-repentant mortification , his biting rage , his impotency to vent his indignation , are as vivid as if you had seen tlio affair . The lady , brilliant , fitted to enjoy and to give enjoyment , free , scarcely inaccessible , yet not for him ; forgetting all his laurels , all ins sorrows ! The picture is cruel and clear as a diamond ; a jewel of
hatetui-* 1 AQQ Compare it with the auxiliary group inKaphael's " Triumph of Galatea —the nymph , a rare type of beautiful womanhood , looking down wui proud , conscious sovereignty on the potent Triton that crouches to fter--beauty ruling might . If it is hard to compare young Frith with KapJiaei . compare this repulse with Stone's well known " Last Appeal , wnere u young girl , keeping herself to herself , looks her sorrow for the anguisu she inflicts , , « . ii In Frith's picture the accessories are well composed and careiiny finished . The colouring is too white and opaque , but the beauty 01 wo woman is excellently made out ; and her costume aids the lax luxu freshness of her character . The composition arranges all weU rouna m subject , the main idea . In that respect the picture is masterly .
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THE AMATEUR GALLERY . { , j Chahged with the contents of a catalogue , the practised B 1 ght"Bfer fl } our 0 a picture-gallery full of nothing but foregone conclusions . Ama ^ have one rare advantage over professional artists , in being able i - •' curiosity , Different people must , we know , have different remimscon ^ of Heidelberg and impressions of tho Jungfrau . The im V ^ % \] l reminiscences may take hackneyed and straitened forme , but in y ^^ somehow contrive to ween out through these forms—whicn , wiv ,
tours , arc seldom those of a perfected mannerism . Out ot one ^ and nine exhibitors at tho Amateur Gallery , sixty-two haye , , giuDOur 3 year . There are more than three hundred frames , and thougn . u . ^ „ ff ( J of the amateurs are modestly generalised as " drawings and 8 JCOJ jtalian observe many works remarkable for care and finish . Such areii ^ scenes of Mrs . Bridgman Simpson , Miss Blake , and Mrs . ^ jy'S ^ i jgurr . the Haghe-like interiors by Miss Bedingfield , and Mrs . -J ^ ^ jjijofc There is great skill , too , though not so elaborately displayed , Jn ^ j war d Yorko ' e birds , flowers , and woodland scones ; in the lleverent L- ot ] jto , i ( fi Bradloy ' s zoological extravaganoioa j in tho portraits : MJss . ^ jnittboing equal in freedom and delicacy of touch to anything in titlecl * turo-room of tho Koyal Academy . After nil , we find that , w ° ^ . Jf tho patrons arc made of tho same stuff by nature as the pro * ^ ^ i amateurs took pains , they might rival tho best " B . A . ; » ' am ateutf ' work , not like hired tradesmen , but for love , they may equal ise ^ A discovery of ours which ought to bo practically useful ,
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LA SONNAMBULA . On Thursday Cruvelli played Amina for , if I recollect aright , the first time here ; but as I was doing duty at Covent Garden , I must wait till she plays it again , and then tell you my impression of her performance . By the way , to-night Pepita Oliva , a new Spanish dancer , makes her first appearance . It does not say much for our choregraphic taste ( I hope you appreciate that elegance of phrase !) that we should patiently endure ( not being condemned to it ) , the eternal pirouettes , entrechats , and rondes des jambes of French dancing , and never yet have learned to appreciate the daring and luxurious grace of Spanish dancing .
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498 THE LEAD E R . CSatprday . " ¦ ^ " | ' ¦ i — i ¦ ' - ¦ ' ' ' . ' " "¦¦ -. ¦ ¦—'¦' ¦ ¦ ' ¦ — ¦ !¦—¦¦— I , ., .. — I , . 1 » , „¦¦ » . «¦ . . — I . ! _ ¦¦¦ ¦ ' I II - ' " ' ' ' I ' - •'¦¦ ¦ ' ¦ ¦ ¦ . ¦¦¦¦¦¦¦ *
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Leader (1850-1860), May 22, 1852, page 498, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1936/page/22/
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