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with chloroform, it assumes great rigidity, Sontag has carried the town. Alboni. and, after the interval of several days, so after the first gush of curiosity, failed to far retains its irritability as to respond to fill the hall. And the reason of the difthe stimulus of blood. Most of the ex ference lies, as we said, solely in the manperiments were made after the
agement. The genius of advertising, and decomposition had commenced, and in one of various other means of catching the case, ten days had elapsed from the period public eye-not unknown to the initiated of the natural death. A much larger —has been lavished upon one, but it has quantity of blood was required than been only carelessly and lightly employed when the interval was less.
by the other. Sontag, too, has deserved
success, by the admirable array of other MUSIC.
musical talent than her own, which she In domestic musical matters the present has constantly presented. A large and excitement is Madame Sontag's promised effective orchestra, led by a master, appearance in opera. It must be confessed
colossal and carefully drilled chorus, as that her career in this country has been occasion required, -an exquisite tenor, for conducted with great skill. Men like such we have found Pozzolini to be, Barnum do not live in vain. The manager Badiali, our best of baritones, and Rocco, of the Sontag Concerts has benefited by a basso, who is not a mere buffoon, -the experience of the Jenny Lind, and, Paul Julien, a boy whose age and genius with admirable tact, having less available recall the youth of Mozart, -and, with power to compel attention, he has so va
these artists, a selection of music indicating ried his appeal as always to attract it. the utmost care to consult the best, and Nothing more happily illustrates the va
the most popular, and most various tastes. lue of management than the different suc
These have combined to give Madame cess of Alboni and Sontag in this country. Sontag's concerts a just eminence in our The first has all the prestige of a fresh, rich, musical annals, and all these have been and unequalled voice, and of a peculiar wanting in the concerts of Madame Aland acknowledged European fame. She boni. If, as we hear, the latter artist feels is also a rarely accomplished artist, with a little aggrieved, as if the American puba languid heroism that does not shrink lic did not appreciate her, she should refrom coping with the most intricate difii member that the concerts which preceded culties of her art, and mastering them her own in Metropolitan Ilall were those with regal ease. She has, moreover, a of Jenny Lind, in which Salvi, Badiali, quality of voice that is always captivating, Goldschmidt, Burke, and a noble orchestra. smooth, luscious and sympathetic, and took part. No weak hand can hope to the charms of youth, and of a frank and raise the sword of Achilles, and exquisite unaffected demeanor, range themselves as is Alboni's singing, and beautiful and upon her side. The voice of the other is rare as her voice, yet Alboni only, clogged long past its prime; it is hard, and wiry, by Rovere and Arditi
, had no right to and weak. The bloom and richness are expect the success she had not challenged. gone, and the fame of Sontag is historical. Her last concerts, we are sorry to say. She, also, is a rare artist; but it is the were not very fully attended. The great trick of study. Whatever the impression singer herself was always delightedly of her singing may once have been, it is greeted and heard, and there is a sweet now that of an elaborate and artificial
and pensive elegance in San Giovanni's elegance. It is the Countess Rossi, sing tenor, that, in a parlor, would be admiing as countesses should sing. It is un rable, but is lost in a hall. But how was exceptionably lady-like, and the remark the audience to dispose of the dreary of a friend was a characteristic and appro tracts upon the programme devoted to priate criticism. “How delightful it is,” M. Arditi and his "works,” and to the said she, as she looked around her at musical ranting of M. Rovere? It was Sontag's Second Concert, “ to be in the hoped that Alboni might be included in mirist of stylish toilettes again!" That the opera arrangement. Then, with Sonis the fair feeling. To hear Sontag sing tag, Alboni, Salvi, Badiali, Pozzolini, and is to be in good society. White kids are Rocco, we could have snapped our fingers de rigeur. She must be heard en grand at “Her Majesty's," and the “Salle Ventenue, in full dress, nothing less satisfies tadour." But it is not to be, we learn.' the sense of propriety. But time is against Yet we reserve the right of not being surthe lady, cunningly as she parries him ; prised if it should so happen, for we have and the prestige of youth, which was al learned that if there be any thing in our ways so persuasive an appeal to public uncertain life especially uncertain, it is the favor, inclines to the contralto rather than vows of singers, and if there be any thing to the soprano.
especially certain, it is immortal discord Yet there is no comparison of success.
We have already had the pleasure of the new Music Hall in that city, of which hearing Sontag in opera. It was during the Bostonians are justly proud, and she the second season of her renaissance in is now making her Southern progress. London. She sang in the Tempesta, Sontag's "festival concerts” succeeded a musical travesty of Shakspeare by Ha well, but not so pointedly as to justify lévy,—a composer even more destitute of the extra expense, and her two last evenmelody than Meyerbeer,—and which ran ings in the city were of the usual character a brief and spasmodic career, and then
and without the chorus. The attendance died away from human consideration en and the satisfaction continued unabated to tirely, as it deserved. Her debut in La the last. Madame Sontag is now at the Figlia del Reggimento, we also saw. It South. In our next we shall chronicle her was very careful, and scholarly, and lady- operatic success, which we hold to be belike. The singer deployed all the con yond question. ventional grace of high society in render Madame Bishop has tried the experiing the character. The rude, wild charm ment of English opera at Niblo's during of the part was not in her delineation. the autumn. It cannot be called successIt was a study in a certain style, not an ful. English versions of familiar Italian individual appreciation and treatment. operas rarely succeed with a public It was like private theatricals, not the slightly cloyed with them in the original. dramatic art. Yet with what consum In the present instance they were brought mate skill she sang ! Ilow carefully, forward without sufficient care and study. how well! All was as finished as a Parian The best part of the experiment was
It was like a rose-wood musicai Flotow's Martha, a recent German box perfectly in tune. Every thing was opera, founded upon a characteristic inciprecise and true. The force of cultivation dent of English life, and worked up with could go no farther. Our despair was popular effect in much agreeable, if not that of Pygmalion before his statue. very original, music. Martha was first You can easily infer from the character produced at Vienna in the winter of istics of Sontag in the concert-room what 1847–8, and had a marked success. It she will be upon the stage. In respect was instantly mounted upon every stage of high lyrical dramatic genius, it will in Germany, and, finally, after much rebe what the charming Countess in perfect sistance from the serious and jealous toilette is to the noble ideal of woman. Prussians, it was brought out at the We shall all be pleased, delighted. There Royal Opera in Berlin. We had the will be graceful propriety of action, a fortune of "assisting.” at the first reprecertain dainty archness in Rosina, irre sentation. The composer was in the proachable tournure and coiffure-a dex stage-box, and, so bitter is the difference terous evasion of difficulties, the best of taste in art between the Viennese and possible presentation of voice, and a de the Berliners, that it was by no means a ferential assumption of success, to which success assured in advance. But the we shall be only too happy to accede. lively and simple interest of the plot, and We shall all be elegantly dressed in the the really genial and sympathetic music boxes; our flowers and jewels will flash soon found their way to the popular heart, and thrill responsive to hers. We shall and the curtain fell amidst very hearty apbe a brilliant circle, and as clever in the plause and a unanimous call for the entractes as we can manage. We shall composer, who bowed his acknowledgindulge freely in our foreign musical re ments from his box. Some of those asminiscences, and allow generously that, tute censors, the musical critics, charged on the whole, this is not so bad. Silk, savagely upon the opera in the feuilletons satin, lace, kid, mille-fleurs, and moelle de of the next morning's papers, calling it boeuf, will have it all their own way on " dance-music," and fit for the superficial the stage and in the boxes. It will be Vienna taste, but by no means satisfacan epoch. We shall date from the Sontag tory to the severe purity of the Berlin opera ; and if an exquisite singer, and an standard. Martha, however, held its own, estimable lady retains golden remem and became one of the standard operas of brances of the time, we shall all be glad the house. The overture has been played of it. Yet, meanwhile, as we put on our at Sontag's concerts, and upon other ocrose-colored opera-cloaks in the wardrobe, casions, and is a pleasing compromise let us whisper timidly to each other, that between the flashing French and grave the great genius which makes an immor German schools. The movement has the tal name by touching our deepest feelings vivacity of the former, and the forms of and holiest admirations, is not described the melodies belong to the latter. The by the terms that truly criticise Sontag. successful representation of the opera,
Both she and Alboni have delighted however, requires a geniality which neiBoston. Alboni, indeed, “inaugurated” ther Madame Bishop nor her troupe
possess. It must go with unanimous Chamber music-a Chapel-of-ease to the spirit, or, like all cheerful intentions of great Cathedral of the Philharmonicthe kind, it becomes a little dreary.
have commenced their third season auspiMr. William H. Fry's musical lectures ciously. They are altogether worthy the are the most remarkable event of the attention of lovers of genuine German season. Their scope is so generous and music, presented in the most careful and catholie, and their intention so good, that effective manner. we are happy to record an unequivocal The recent musical careers in this success. The conception of the under country have suggested the inquiry taking implies a kind of genius. To pre whether the concert will not take the sent a historical, æsthetical, scientific, and place of the opera among us.
It is cercritical review of music in the compass of tainly evident that there is no operaten lectures, and so to distribute this huge enthusiasm sufficient to erect a suitable material, as to leave some marked and house, although we have Sontag with us permanent impression upon the public ready to sing in it, and although letters mind, is certainly an imperial prospectus. have been received from Grisi, Mario, and We speak the truth in saying that the the other greatest European celebrities, promise has been kept. Mr. Fry's course inquiring about the prospects and chances is now in course of weekly delivery.
of an opera.
We have no doubt of the Metropolitan Hall is thronged every Tues success of a cheap opera, if it comprised day evening, to hear his descriptions and the best vocal and instrumental talent in exegesis of various styles of music in all the world. But it must be managed by times and countries. The song Blondel some Barnum, who thoroughly compresang to captive Richard in the Austrian hends the genius of our public, and not by tower, Chinese lullabies, Ilindoo lyrics disappointed and incompetent managers and Egyptian chants, whatever is old from Europe, stiff-necked with stale operaand characteristic, quaint and interest tic traditions of management which, even ing, down to the colossal times of the in Europe, cannot keep the opera alive. oratorio, and the softer days of opera The opera to succeed in America, must be, even to that blending of the two, Rossini's like every thing else, Americanized. Stabat Muler, which was performed en In Europe there is little interest in the tire, all these are presented under Mr. Fry's musical reports. There are no signs of auspices, with good solo-singers, and a any new great singers, nor of any new chorus of two hundred voices, and with a great opera. The huge shadow of some success commensurate to the design. Of of Meyerbeer's coming events is, of course in such an undertaking there course, cast upon musical rumor. will be a great difference of interest in the mountain is laboring; but its gestation parts. Some may be apparently too is so prolonged. In England they have elementary, others too abstruse. Many been singing Mendelssohn's Christus, of the illustrations may seem tedious, and Spohr's Last Judgment, upon many commonplace. But these are things occasion of the Duke's death. But no incident to the character of Mr. Fry's new singers of note took part. Madame work. It is not a concert intended solely Anna Zerr continues to sing the music of to please, nor a dry explanation aiming Mozart's Magic Flute at Julien's Cononly to instruct, but it is, on the whole,
earns great praise therethe most skilful, and by far the most by. The range is so peculiar that no successful union of the various kinds com one else can sing it, and Madame Anna prised in the scope of his intention, that will therefore probably continue its perwe now recall. Mr. Fry has shown him formance. M. Julien, who gives monster self in these lectures, thoroughly compe promenade concerts in London, and gilds tent to write such a history of Music as for the cockneys the prodigious pill of has not yet been attempted. How gladly Beethoven by the most irresistible polwould we rank among the many imposing kas and "Grand-Exhibition-of-all-Naproofs that America is not callous to the tions” waltzes, mazurkas and redowas, deepest persuasions of art, a comprehen in which the Chinese gong struggles in sive history of Music written by one of deadly warfare with the Dorian flutes and the most American of Americans.
voice of soft recorders, and over whichThe concerts of the two great singers serene in flamboyant waistcoat-presides have not interfered with the steadily imperial Julien fiddling music out of the growing and constantly deserved success chaos, is coming to New-York to fiddle of the Philharmonic Society, whose first money out of our pockets. He will do concert this season at Niblo's Saloon, in it. We can no more avoid it than the troduced us to Gade's “ Ossian," and was "gents” of Drury-lane can resist his among the best of their many memorable waistcoats. Let us come down” in adevenings. Eisfeld's Quartette Soirees of vance and lay the keys at the feet of the
conquering Julien. He will give us-and Art-Union, while we are very far from arall honor to him for it-Beethoven, Haydn proving of the means by which the ruin of and Mozart, with a colossal orchestra, that, our only institution for the encourageand no clap-trap performance, but a ment of art in the United States, was ac genuine matter. He will interweave a
Our artists will now bi lighter music so daintily, that our feet will compelled to depend upon chance visitor insensibly glide from the solemn march to their studios, and the Annual Exhibies of the great masters to the airy pul tion, for purchasers of their pictures; and sations of Strauss, and Lanner, and Ju we do not much doubt but they will be lien himself. He will do all this at a better off in consequence. They will work cheap rate, and the cavillers at the two better, and, generally, find more discrimiand threc dollar reserved seats, will fall nating customers than they have done the into charmed silence as Julien reveals his past five years. unutterable waistcoat, and proffers them The pictures of the Art-Union, which were Paradise for a shilling. We record our to have been distributed last year to the fealty in advance.
members, were sold, on the 15th and 16th. The French papers mourn over the at auction, for the benefit of all concerned. small prospect at the Italian Opera. We believe it has not yet been determined The engagements for the season what use shall be made of the Art-Union Cruvelli, Vera, and Bertrandi, for so Galleries in Broadway; but it would be a prani, and Borghi-Mamo for contralto. very great pity for such admirable exhibiThe tenors " threatened ” are Bellini and tion rooms not to be employed in some Negrini, and for basso, our old friend way for the promotion of art. We beBelletti, Marini (who used to dress Ber lieve that the managers of the Art-Union tram at Astor Place, like Mumbo Jumbo), have entertained an idea of keeping the and Valli. Of the names upon this list, galleries open as an exhibition and salesBelletti is always sure and good, and room for works of art of various kinds. Cruvelli, judging from foreign report, had This would be an excellent plan, no doubt; a chance of the greatest success, which something of the kind is needed—an artshe seems to squandering by careless ist's exchange, or market-house, where uess and laziness. The Emperor Louis, their productions might be seen by the to keep matters along, pays £4000 for public, and purchased. It is a rather difhis box for the season.
ficult matter for our Medici, who would In Italy there is a new opera at Genoa, be glad enough to act the part of patron. Fiorina, which is well mentioned. Barbi to discover all the studios" and "ateliers" ere-Nini is singing acceptably in Rome; of our rising artists; and the National and we learn from that city, that our Academy opens its galleries but once countryman, Crawford, has received from a year. But a better use to which the Boston an order for a bronze statue of Art-Union rooms can be put, is to make Beethoven, for the Music Hall there. them a school of design for artists. There
is nothing that we so much need as pracTHE FINE ARTS.
tical artists, to create designs for our fineThe utter extinction of the American art manufactures. Millions of dollars are Art-Union, by a decision of our courts, has annually sent to France, to pay for little had a temporarily depressing effect upon artistic knick-knacks, which might easily the cause of Art in this country. But so be produced here. The English have vital a principle as the love of art is not opened their eyes to the importance of ento be extinguished by the demolition of couraging their fine-art manufactures, and. any institution. The love of art remains, by the establishment of national schools and those who minister to it are not weak of design, have already done much for the ened in their energies. Pictures will con cause in all parts of the kingdom. The tinue to be painted, and statues chiselled, appropriation of one hundred thousand now that the Art-Union has ceased to ex pounds, by Parliament, fifteen years ago. ist, as they were before that institution for the establishment of schools of design, was organized. We were never well satis has been ten times repaid by the benefit fied that Art-Unionism was a healthy and conferred upon their fine-art manufactures. sound principle; it was too direct an in Our Free Academy has made a small terference with the principle of laissez effort in this matter; but it requires the faire. which is as essential to a vigorous aid of the Government, either of the State and healthy development of genius in art or nation, to do any thing on a sufficiently as in every thing else. So that we have liberal scale to be of any permanent no tears to shed over the destruction of the benefit.