No. 17. Duet between Agrippina and Fortunatus. The latter being introduced by Pedro to his sister in order to accomplish her cure, obtains possession of the Wishing-Cap and Purse, and, grasping Agrippina, wishes himself and her in a convent on the coast of Sicily, where he compels her to pass the remainder of her days. This duet, with the chorus belonging to it, forms one of the most original and effective situations in the opera. Behind the scenes the nuns chaunt an old choral hymn, a piece of sacred harmony still sung in convents; to which, with the accompaniment of the orchestra, the above two sing the duet, wherein the violent and wicked character of Agrippina reaches its climax. The chorus is treated as canto fermo, and the dramatic air proceeds with it, free and unshackled; it is a composition worthy the highest praise. Agrippina takes the veil, and the invisible chorus finishes with an AMEN.
No. 18. Aria with concerted parts. Alide is to be united to Pedro. The King announces this in a pompous aria to the people, who express their joy. Here is introduced a very fine march. Fortunatus appears, unmasks the villain Pedro, and marries Alide. The opera closes with a concerted movement.
The representation of this work in Frankfort was admirable. M. Schmetzer, as Fortunatus, had ample opportunity to display his magnificent voce di petto. Demlle. Lampmann also proved very successful in the character of Alide. The getting up was worthy the theatre, and the applause unqualified.
M. MOSCHELES AT LEIPZIG.
(From the Musicalische Zeitung.)
M. MOSCHELES, whose talents as a pianist are held in such high estimation by every country where the musical art is appreciated, gave us an unrivalled treat on the 22nd instant (October), and again proved to us how much the character of a composition, and the feelings intended to be excited, depend on the taste, judgment, and animation with which it is performed. Our celebrated guest was welcomed in a manner correspondent to his high merits by an audience that completely thronged the Gewandhaus; and we trust that all who were present not only came to hear and to enjoy, but to learn. M. M. played his new concerto in C, and his fantasia, ‘Recollections of Denmark.’ It would be presumptuous to offer a judgment on works of art after but once hearing them, and more particularly so in the present instance, where the performance was so bewitching, that the critic’s attention was unavoidably drawn from the composition to the composer. It would be mere commonplace to call M. M. the true representative of the true school of piano-forte playing, or to say that a perfect gradation of power, brilliancy of touch, precision of time, and all the charms of rhythm are united in his performance. A detailed description of the merits of a master conveys no adequate idea of the qualities and powers peculiar to a man of genius. M. M. has all the difficulties of his instrument in such complete subjection, that as they increase, so does his command over them; while to the minutest particulars he has the happy art of giving a value and communicating an interest, so that the attention of his hearer never relaxes, and is always gratified.
In the midst of his energy he has a self-control which gives it dignity. Light and shade, power and sweetness are so admirably contrasted, or beautifully interwoven, that in the midst of his admiration the hearer is instructed. All M. M.’s peculiar merits were united in his extemporaneous fantasia, for which he had four themes of Mozart given to him by the audience. The most striking modulations blended with the most brilliant traits, that happy union and reunion of his subjects, in which Hummel also excels, the imposing dignity of his style, and an expression of lyrical feeling peculiar to himself, completed a combination of excellence that called forth the warmest marks of admiration from the delighted audience.