AT the two hundredth anniversary of our City Concerts, on the 14th March, was performed a cantata composed by M. Kufferath, a pupil of Spohr’s. The performance was conducted by the composer and surpassed every expectation; there were also given a symphony of Kalliwoda, and Mendelssohn Bartholdy’s overture to a Midsummer Night’s Dream, which were well played.
ST. PETERSBURG.
A CONCERT was lately given at the palace of M. von Narischkin, for the relief of the widows and orphans of musicians, at which several dilettanti of rank, namely, Prince Wolchonski, Count M. Wielhorsky, Mlle. von Bolotnikow, and others, contributed their valuable services.
COPENHAGEN.
THE season just past brought before the public two new operas which were very successful; the first Das Bild und die Büste (the Portrait and the Bust), in three acts, by P. C. Berggreen, the other, Die Braut von Lammermoor, by the Kapellmeister J. Bredal; both composers in their productions successfully clothed in musical expressions the ideas of their poets, regarding melody as the first consideration—in style however they differ widely. Besides these, there was another vocal piece, Der Rabe oder die Bruderprobe (The Raven, or the Test of Fraternal Affection), by J. P. E. Hartmann. The other performances of the season were Boieldieu’s Die Zwey Nächte (Les deux Nuits), J. L. Heiberg’s humorous operetta, Ein Abentheuer im Rosenberger Garten (An Adventure in the Rosenberg Garden), Weyse’s opera, Ludlam’s Höhle (Ludlam’s Cave), Die Stumme, Fra Diavolo, Der Liebestrank, Die Weise Frau, Figaro, Joconde, Die Weinlese (The Vintage), Der Erlenhügel (The Alder Hill), music by Kuhlau; Don Juan, Das Schloss Montenero, Der Schatz (Le Trésor Supposé), Der Schlosser und der Maurer, Preciosa, Der kleine Matros (Le petit Matelôt), and Die verliebten Handwerksleute (The Love-smitten Mechanics.)
MADRID.
ITALIAN operas are performed here twice a week, alternately in the Teatro del Principe and in the Teatro della Cruz; thus the lovers of the opera are obliged to take boxes in both houses. None, indeed, but Italian operas are tolerated, and Rossini is the favourite composer. Hence piano-forte arrangements of his music are to be met with all over Madrid, and there is scarcely a female of the middle rank in life who has not acquired some degree of proficiency on the piano-forte. The guitar is almost entirely discarded. People alone of the lower class are now and then to be seen playing that instrument before their doors. Spanish music, too, is completely out of vogue, and the ladies invariably sing that of Italy, unless expressly entreated to sing a national air; so that the lively Spanish airs are now only to be heard in the mouths of the common people.
THE DRAMA.
KING’s THEATRE.
THE Pirata of BELLINI, which is not only his best opera, but the only one of that composer which has a chance of surviving above another year or two, has been performed since our last report, Madame PASTA in the character of Imogene, who enabled us to enter fairly into the merits of the work, which, at its first representation in this country four seasons ago, were not so discernible, the then prima donna having made a very sad affair of it, though she was amazingly bepraised at the time, and we were exceedingly vituperated for pointing out her incapability.