At the last concert of the musical academy here, the overture to Samori, by Vogler, and Weber’s Jubilee overture, were very excellently performed. Mlle. Schechner and M. Pellegrini distinguished themselves in the vocal pieces; Mlle. Violanda Dülken, from the Conservatoire at Paris, sang variations of Pacini; M. Menter played a solo on the violoncello; and Mad. Bohrer on the piano-forte.
STUTTGART.
The grand musical society which gave the Messiah so effectively last year, has considerably improved, not only in number, but also in excellence; and their recent performance of Judas Maccabeus was certainly one of the most perfect the work has ever undergone.
PESTH.
A young virtuoso on the piano-forte, Joseph Rigg, has been playing at the theatre here with very great success. He performed the first movement of a concerto of Hummel, and some variations of Czerny, with precision, sweetness, and great execution.
MILAN.
At the Teatro alla Scala, a new opera by Mercadante, called Ismalia Ossia Morte ed Amore, the Libretto by Romanelli, made a fiasco; nothing in the whole opera, save the choruses, gave satisfaction; his Donna Caritea, however, was well received, and Mlle. Vial, from Munich, who sustained the principal character, was much applauded. The principal singers here are, prime donne, Antonia Vial, Teresa Melas, Isabella Fabrica (contralto in male characters); tenore, Giuseppe Binaghi; bassi, Gio. Giordani and Filippo Spada. All of them good singers, say the Milanese, with the addition, ‘di secondo ordine.’ Thus it is when people are accustomed to hear always such singers as Pasta, Rubini, Donzelli, Lablache, Tamburini, &c.
At the Cannobiano, Generali’s somewhat old but still beautiful operetta, Adelina, has been reproduced, with Emma Albertazzi, an English lady, as Adelina; her voice is agreeable, and her style of singing not bad; her pronunciation and acting, however, are but indifferent.
The company which is to perform at La Scala during the carnival, includes the names of Tosi and Pallazesi, principal soprani; Terese Cecconi, first contralto; Reina and Pedrazzi, principal tenors; and Zuchelli and Giordani, first basses. The season will open with Donizetti’s Fausta, which has hitherto been heard only at the St. Carlo, Naples; to that will succeed a new opera, written expressly for the carnival by the young Maestro, Ricci, and called Fernando Cortez; the third is to be Caterina di Guisa, which Coccia is now employed in composing; and Mercadante is engaged to bring out a fourth, of which the name is not yet known.