In Anna Bolena, Giudetta Grisi was no substitute for Mad. Pasta; little was attended to, and nothing applauded but Rubini’s Percy. His aria in the second act, notwithstanding its length and the fatigue of the singer, was vociferously encored. The revival of Mosè in Egitto has been very successful, but owes its success chiefly to the singing of Tamburini and Rubini, whose duet, ‘Parlar, spiegar,’ is one of the most finished exhibitions of the vocal art ever witnessed. Boccabadati was so ill on the first night, that her part, Elcia, has been since taken by Giudetta Grisi.
We had occasion recently to be present at a practice of the pupils educated in the Conservatoire of Classical Music, under the direction of M. Choron, and observed several circumstances, both in the system pursued by that professor, and its practical results, that appeared to us remarkable. The first thing that struck us was the extreme difficulty which must have attended the attempt to make a whole mass of people sing as an individual. At the first blush one would suppose the thing impracticable, but the patience first of the professor, and subsequently of his scholars themselves, has achieved a victory over obstacles that might have been pronounced, until the contrary was proved by the fact, insurmountable. The success of M. Choron’s system of teaching ought to attract the attention of Government the more strongly because he has had for pupils only children taken promiscuously from a population at once poor, and, unfortunately, ill-disposed towards music and the arts in general. From this circumstance some judgment may be formed of what his success would have been had his system been applied to scholars of a more select kind.
One of the most remarkable sights in Mr. Choron’s school are some children, the eldest only five years old, whom the professor obliges to listen constantly to music, with the intention of accustoming their ears to harmonic sensations. He watches with extreme care the development of their infant faculties, and observes every day a progress so sensible, as to encourage the hope that the result will be an organization entirely musical. It is to be hoped that Government will comprehend that so much devotion and intelligence deserves to be encouraged, and that it will enable the establishment directed by M. Choron to extend its efforts as widely as it formerly did, by restoring to it that assistance of which it ought never to have been deprived.
THE DRAMA.
THE supply for this department of our work continues as scanty as during the last two or three months. Much is promised and in preparation at the three principal theatres, but nothing yet actually produced.
The circular, or prospectus, from the KING’s THEATRE is not yet out, though it used to be issued in the month of November, and never later than the middle of December. The Chronicle, according, to its annual custom, announces a ‘brilliant season;’ we, however, suspect that the small paragraphist does not view the prospect with the same eyes as the entrepreneur. It is evident that everything must be dull at the Italian opera till after Easter, that is to say, till the beginning of May, when those who do take boxes will engage them for only half a season. But considering the fall in the value of everything—except indeed the precious metals—will people give at the same rate for boxes now that they did when rents were high, were regularly paid without deduction, and when economy was not the order of the day in Parliament, and in his Majesty’s Councils? Will Madame Boccabadati bring five shillings to the house?—Will Matilde di Shabran draw a single person?—Will the weakest of Bellini’s feeble operas, his Montecchi e Capuletti, a wretched version of Romeo and Juliet, the music worse than even the contemptible drama—will this tempt one subscriber to place his name on the box-list, or avert the mischief which seems to threaten the King’s Theatre?
At DRURY LANE Don Giovanni is actively preparing, and will be produced on the 4th instant. If it does not succeed it will not be for want of liberality on the part of the manager. Mr. WOOD has, it is said, refused the part of Don Ottavio. Why? we would fain ask. In consequence of this, M. Begrez, who often has had the character assigned to him at the King’s Theatre, is engaged to fill it. The fact is, that it requires en excellent musician to sing this music. So anxious is Captain Polhill to bring out this chef-d’œuvre of MOZART in as perfect a manner as possible, that he has offered an engagement to DRAGONETTI, who assisted at its first performance in this country, as principal double-base, in which capacity his services would be of more importance than those of half the persons on the stage.
At COVENT GARDEN a new opera by Auber is in forwardness, but we have heard no particulars concerning it. This theatre has filled well during the last month, owing to the success of the pantomime, and also to Nell Gwynne, which, though possessing little claim to notice, has drawn very much.
The ENGLISH OPERA HOUSE, the building of which is begun, will be ready to open in July next. The extended licence granted to this, and the unlimited privileges which, we have no doubt, it will soon enjoy, (as well, indeed, as the Haymarket) will enable it to meet the winter theatres on fair grounds. A theatrical revolution is at hand; smaller theatres are starting up in all quarters, and the overgrown ones must either shrink into a moderate size, or abandon every kind of dramatic representation except opera and spectacle.