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    a fine mezzotint engraving by F . Bromley after Grant ' s portrait of Sir James Scarlett , the Crimean hero . The portrait is manly and expressive—the very type of the old campaigner—his silver hairs doing * honour to his grand martial brow . The chair in which he is seated is a fine specimen of ancient painting . This portrait was painted for the officers of the Dragoon Guards , who will , no doubt , be glad to see so faithful and spirited a transcript of it .

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    EIZZIO . JUxzio . A Dramatic Ballad . The Words by H . S . K ., the Mnsic by "Walter Maynard . Cramer , Beale , and Co . As a composition for a single voice this ballad is of higher purpose and attainment than any similar yocal work from the pen of an English musician it has yet been our good fortune to peruse . The poet has successfully condensed in the form of a

    of a popular character ; it is composed for the enjoyment of connoisseurs . An average performance of it demands the combined talents of a great accompany ist and a great singer .

    ballad the subject matter of an entire opera , the verse being by turns narrative , descriptive , suggestive , and colloquial . If the poetry of Rizzio be deficient in lyrical character , the author undoubtedly exhibits higher attributes of his art—expression and feeling . Few composers would have ventured upon the difficult task of setting such lines to music ; none but a gifted and cultivated composer could have succeeded .

    We have not space , nor is it in the province of our columns to enter into a critical and sesthetical examination of individual works of art , but one of such rare excellence as the present requires no apology for a few observations ; it deserves an unusual call upon the attention of our readers . Mr . Maynard artistically-commeuces his composition with a symphony that is in perfect keeping as to proportion and character with the work , and through it he epitomises the whole in a manner so skilful and felicitous as to recal the design of " Weber in his treatment of the wonderful preludes or overtures to his operas .

    The verse commences by Kizzio ' s declaration of love for the Queen . Mr . Maynard has set these lines to a melody after the modern Italian school . The melodic phrase is well sustained , and closes with an expressive and tender cadence ; but -we do not find it chaste , nor severe enough , for the classic form of this ballad . It would prove a very telling melody for a street trovatore to sing in his' soft

    desire to wile away the heart of some fashionable prima douna ' s maid . The succeeding narrative verse is expressed by Mr . Maynard in accompanied recitative . We may here observe that with the exception of one line of poetry adapted to the melody sung by Rizzio , the composer has set the entire ballad continuously , avoiding any repetition of ¦ words that does not occur in the poem . Whether tins be the effect oF design or accident we care not to enquire : the charm is there . After the recitative follows the denunciation of

    Bothwell and the assassins : the masterly treatment of this portion of the poem is an undeniable manifestation of rare ability in the composer . The melody , accompanied in pure counterpoint , is introduced several times under different phases ; first , in the instrumental symphony without words ; then , on two several occasions—in the revelries of Bothwell and the assassins j lastly , after the death of Hizzio , when the composer , by a change in thp measure and colour of the melody , illustrates with much beauty and deep pathos , tho sad and lonely condition of the Queen . By these artistic resources , which appear almost a gift of inspiration , Mr . Maynard sustains the unity of his compoaition , -which , under other treatment , would have proved fragmentary and disjointed- ' - / - *« # * inclines tuque moles Our admiration" is again excited by the composer ' s

    excellent elaboration of tho climax ( the assassination of Rizzio ) , which , invested with considerable spirit and interest , culminates in a point ( Torgue fiven in a few measured yet impassioned notes to o delivered by tho unaided voico and declamatory power of the singer . We oonfesa our surprise at the many and high ( Excellencies exhibited in this dramatic ballad , as former productions by Mr . Maynard—such at least as have come under our notice' —yield but slight indications of the high capacity hero manifest . Our readers will iufor that Miszio is not a ballad

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    1382 T H g ^ J ^ gA B - Pfe- 456 , December 18 , 1858 .

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    V THE PALACE OF TilE PEOP LE MUSWEiL IULX . The private exhibition of Mr . Owen Jones ' s designs for this national undertaking is announced to take place in St . James ' s Hall , on Tuesday , 21 st , and Wednesday , 22 nd inst . We understand that they are on the most extensive scale , and conceived , as well as executed , in a high style of decorative art . They will present views of the exterior aud the interior of the proposed building , with some of its intended contents ; and artists of eminence have

    been engaged hi so finishing the coloured drawings that they will be more than ordinarily interesting . Considerable excitement now prevails iu the densely populated suburbs commanded by the new Palace , with regard to the nature of the attractions to be provided for their amusement aud recreation . We understand that ornamental grounds have been planned by Mr . Spencer , o Bowood , in such a manner as to include a garden in the Italian si vie , a French garden of the time of Louis Quntorze , and the old English garden , with it ' s quaint clipped hedges and bowling-green . The " plcasauuce" will

    theatre , and as all the box-keepers and nth « . "" are paid by the management , the ? e w 5 l Set , ' xS * any demand of money from tlie ¦ audience ¦ an l servant making any such demand will bo immediaSw dismissed . """ ecuately All places secured at the box-office will be mark i k a distinctive ticket , so that-the public will be enaUbdZ perceive at a glance what seats are at their disn ^ oi and as all seats taken and paid for in advaS 5 guaranteed to be reserved for the whole of theavwrf the managers trust that the good feeling of the 3 will prevent any improper attempt to take these nW when unoccupied . ¦ i ** ves-Cloak-rooms will be provided , where ladiea' bonnet * . gentlemen ^ , coats , &c ., may be left , and where a w " fixed price ( which will be conspicuously announced f £ the room ) will be charged for taking care of each artirfP No person in charge of the cloak-room is entitled . o » any pretence whatever , to make any claim beyond thZ price so announced . Evening dress will not be required for the pit a-nnhi theatre stalls , or amphitheatre . ' ' It is to lie hoped—for we have not space for further comment—that tho example set by the spirited managers of the English opera company will not b& lost upon their confreres of other theatres .

    DRDKT LANE THEATRE . The first Drury Lane season of the Pyne and Harrison opera management was brought to a conclusion on Saturday last with the performan ce of Donizetti's Daughter of the Regiment , for the benefit of Miss Susan Pyne . The fair lessee acquitted herself-in the sparkling little part of Marie , with all thevocal and dramatic delicacy and finish we ' fully expected ' of her , and may rank without question henceforth in this as in other of her parts , side by side with the most renowned of her predecessors . A crowd of lay and professional sympathisers of course were present , and weru most demonstrativein their manifestations of delight and admiration of the heroine of the evening , who was well-nigh overwhelmed with a pitiless storm of bouquets ; not to mention a wreath of laurel , that might have served colossal brows ; and a shrine or case that might have contained—for its contents did not transpire—a suite of diamond ornaments , a kilogramme of Parisian sweetmeats or chocolal c / e mhti ; or a portrait and an offer of the enthusiastic donor ' s heart . A good deal of disappointment was at first experienced by the announcement that Mr . W . Harrison was too unwell to sing ; but that gentleman ' s admirers were in too great force , and the public too recoijnisant of his long-tried fidelity to engagements with them , to permit this feeling more than a transient existence . In the course of a few brief observations he offered at the fall of the curtain , in obedience to a general call for the company , it was eo evident to all that the favourite was indeed an invalid , that theplaudits of the patrons whom he had but just disappointed were as warm as though he had won them by dint of vocal exertion , and must , as a tribute of genuine good feeling , have been infinitely more gyatifying . The part of Tonio was read , as the bills have it , in consequence of the principal tenors indisposition , by Mr . St . Albyn , whose voice , in the

    few opportunities allowed for its display—in consequence of his obvious inadequacy , at only ft-lew hours' notice , to the concerted music—sounuoil so pure and good , and whose intention and capability were also so manifest , that they secured for nun a very considerable amount of genuine approbation . It w arc not mistaken , Mr . St . Albyn will have little occasion to regret the chance that threw in ins way the reading of Tonio , though , the season being over , it was for one nitfht only . Miss Susan Pyne , » jo was the Marquise de Birlwvfddt , was , as usual , vaiuablo to both the musical and dramatic ensemble , and Mr . Corri made a capital Sergeant tinl / ncio . An address from the management to tho puwic was extensively circulated through the hou « duri ng the evening , in which the immediate removal or « o company to Covent Garden Theatre was announccj , and the lessees plpaded for a vote of cpnfidonce . That this will bo allowed them nem . con . is , weitn" * » a certainty . They hove demonstrated mscvcM w stances , na they set out to ilo , that English opera * by native composers can bo performed to tno i u / mont of nativo audiences by nntlvo nrtl 8 M ' * u they have not more often varied their P / ° 8 ™ g"Jy duo to tho amazing popularity of Mr . Bulfc jf . £ Castillo and Jiohemian Girt , which assured t it tontion , and that when they have varied it tnw been with tho works of foreigners , is " ® T"J" L oro some of our readers may be aware of tno I ( l « 1 " " , y to the dearth of native opera writers than io ¦»/ desire of Miss Pyno and Mr . Harrison to «» "f " > original colours under which they have , «* " " « much favour . ' They come forward , on . the spontaneously tp renew their Implied cor ° nf «^ rise or fall , if possible , by English opera , in lowing remarkable passago of their vakuww , address :- — ¦ . , i .,., n , i fnvour Though hitherto debarred , by tho con IInnc £ * shown to works In our existing repertoire , " < »» i

    be encircled by a drive for carriages and equestrians , and a sheet of water will aflbrd a scene for rowing matches and aquatic-amusements . If the promoters receive anything like the support wliicli they are led to anticipate from financial circles in general , and from the great railway companies , whose receipts the accomplishment of their nlaus will tend largely to increase , an institution will soon arise in tire most beautiful environ north of London , which will combine the charms of a fashionable resort and a . fount of healthy and mental and bodily amusement for the toilimr myriads of our metropolis .

    We shall certainly inspect Mr . Owen Jones ' s ' plans . That gentleman ' s celebrity induces us to think they ' will otter material for an interesting architectural and artistical report , as well as for one with simple reference to their apparent fitness for the end proposed .

    COVENT GARDEN THEATRE . This ample lyric establishment , replete with every necessary for the production of first-class operas , ia now in the hands of Mr . Harrison , and his clevei aides , Messrs . Murray and Brough , who know no rest from the labour of general arrangement , besides specially getting-up Mr . Balfe ' s opera of Satanella ; or , the Power of Love , and the Pantomime . The former work , written , as we have before announced , in Mr . Balfe ' s best and lightest style , is to be produced on Monday next . The latter—unless some indiscreet heretic dislocates and precipitates the

    managerial arrangements of the theatres in general by rushing into the flc-ld with an ante-Christmas pantomime—will come in due course upon Boxing ' night . We havo on former occasions alluded to the radical changes it was the rumoured intention of the new management to effect in theatrical arrangements before the curtain . These rumours arc now accredited from head-quarters , and deserve especial notice , for should Mr . Harrison have force as well as will to carry out his intentions , he will havo deserved

    tho thanks of generations of playgoers yet unborn for striking down tho most flagrant abuse and removing the great obstacle to the certainty of seeing a play or hearing an opera in return for the regulated admission money , -without payment of black mail for peace and quietnoss , in tho shape of booking and box-keepers' fees . The official announcement , which cannot bo made too public , as it mightily concerns tho comfort of all who by any chance over enter the doors of a playhouse , and a twelvemonth ago might have been regarded as involving a maniacal rovolution , runs as follows : —

    Being of opinion that tho price paid for admission to a theatre ought to covor all charges , and bcliovlng that extra claims , such na fcoa to box-kccpcrs , &c , arc generally , if nol universally , objected to , tho managers have determined upon abolishing all such extra claims . Private boxes , stalls , or soats in tho dross clrclo , lower dross circle , or amphitheatre stalls ( ull of whicu arc numbered , and will bo retained tho whole of tho pvoning ) , may be secured beforehand at thobox-offlco , at tho same price as that charged at tho doom , -without any foe for bopking . A . neatly printed programme of tho ovenirig ' s porformanco will bo given to each person on entering the

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• Citation
  • Leader (1850-1860), Dec. 18, 1858, page 1382, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2273/page/14/