Since penning the above, we hear of a fortnight's suspension of the Opera in New York, to allow time for the preparation of the "Nozzi di Figaro," "Robert le Diable," "Les Huguenots," &c.
In close connection with the opera, the brilliant concerts of Vieuxtemps and Thalberg go on. Probably there is nothing better of the virtuoso kind; and as they bring in the orchestra sometimes, they give occasionally something classical and great, performed in a masterly manner. Indeed, all the music of New York seems to revolve now round the Ullman-Thalberg centre. They sweep all into their orbit. With the Harmonic Society, they give Sunday oratorios, promising "The Messiah," "Creation," "Elijah," David's "Desert," (!) and others.
We have not left ourselves room to more than hint at the truest musical pride of New York, her Philharmonic Society, whose orchestra now numbers eighty excellent performers, and whose list of regular subscribers reaches eighteen hundred. They are rehearsing Spohr's symphony, "Die Weihe der Töne," with Schumann's "Manfred" overture, and Beethoven's sublime "Leonora," for their first concert, and will do much for classical music by their four concerts. In Boston, in spite of our broken and disorganized condition, we have ten or a dozen Symphony concerts in a winter. Chamber Quartets, too, and Trios with Piano, will have their audiences,—let us hope numerous enough to gladden the hearts of the artists.