A record of the opera in Philadelphia

FROM THE

BENNO LOEWY LIBRARY

COLLECTED BY

BENNO LOEWY

1854-1919

BEQUEATHED TO CORNELL UNIVERSITY

ML 1711?8T5A7r"">' "'"'"

* 'iSSS.^l,,?,!,,.^!!? op*™ In Philadelphia.

3 1924 022 331 239

The original of tiiis book is in
tine Cornell University Library.

There are no known copyright restrictions in
the United States on the use of the text.

http://www.archive.org/details/cu31924022331239

A RECORD OF THE OPERA

PHILADELPHIA.

W. G. ARMSTRONG.

PHILADELPHIA
PORTER & COATES.

1884.

COPYRIGHTED BY

TOWNSEND WARD.

PREFACE.

The title explains the object of this book. It is simply a
record of the lyrical representations that have taken place in
Philadelphia, with the names of the artists and the date and
place of performance. As the experience of comparatively few
of the present frequenters of the opera extends beyond the
past thirty years, it was suggested that I should add some re-
marks descriptive of the voices and method of the principal
artists. This I have done as concisely as possible.

There are many incidents, historical and personal, connected
with the opera in Europe, relating to eminent composers, vo-
calists and authors, of whom faithful descriptions have been
preserved. England has been fortunate in possessing several
clever writers on the subject, who were not only thoroughly
conversant with music, but wert personally acquainted with
the most distinguished musicians of the present century. I
have freely made use of their descriptions, by way of illustra-
tion, in the following pages.

In the operatic representations, the names of the principal
performers are given, but mere repetitions of the same cast are
generally omitted. Subsequent to the year 1857, unless other-
wise stated, the performances were given in the Academy of
Music.

June, 1S83.

A RECOED OF THE OPERA
IIS" PHILADELPHIA.

BENJAMIN FRANKLIN was probably the
earliest amateur musician whom Philadelphia
may claim. He is accredited with the invention
of the harmonica or musical glasses; he certainly
made them practically available. They were the
fashion when "the ladies of distinction from town
[in "The Vicar of Wakefield,"] talked of nothing
hut high life, pictures, Shakespeare, and the musical
glasses." An engraving and fall description of the
instrument will be found in Sparks's edition of
Franklin's works. Vol. 6, page 245. Miss Davies, at
that time well known over Europe, was the first
distinguished performer on the instrument. Hasse
composed for her. Mozart composed fo'r another
lady performer. Even Beethoven condescended to
oblige a friend by composing a little piece for the
harmonica. It is safe to say, however, that none of

( « )

these musicians would adopt Franklin's ingenious
theory of harmony. In a letter to Lord Kames,
dated London, June 2d, 1765, on Scotch music,
Franklin says of the airs: "Their melody is har-
mony ; every succeeding note is a third, a fifth, or
an octave; that is, a concord with the preceding
note. The memory of a past sound forms a concord
with the present."

Franklin also played the guitar. Leigh Hunt in
his autobiography says: "My mother had no ac-
complishments, but the two best of all, — a love of
nature and of books. Dr. Franklin offered to teach
her the guitar ; but she was too bashful to become
his pupil." Franklin's music-stand is in the posses-
sion of the Historical Society of Pennsylvania.

Philadelphia has always maintained a good rep-
utation for musical taste. Even in the last century
it was usual for families to have meetings at their
homes for their improvement in music. Governor
Penn, who played the violin, had musical soirees
every Sunday evening at his house, South Third
Street, during a portion of the year.^ Dr. Adam

^ I am indebted to Mr. Townsend Ward for this note re-
garding Governor Penn's house.

" Governor John Penn's house was on the west side of Third

( 7 )

Kuhn, himself an amateur, attended them. Francis
Hopkinson, signer of the Declaration of Inde-
pendence, was also an amateur musician and fre-
quently played the organ at St. Peter's Church, of
which he was a vestryman. The descendants of

Street, south of Willing's Alley, and stood there until about
3830. It occupied the present lot No. 242, old No. 112, and
probably about one-half of the adjoining lot on the north ;
for it was a large house, although not a double one. Its door-
way and hall were unusually wide, and it is remembered that
figures of Indians were painted on the walls of the hall. This
was on the ground floor. The parlors were in the first story
or on the second floor, as we call it! I have been told that the
windows had large panes of glass, — the first departure in
Philadelphia from the regulation pane of eight by ten inches.
The grounds extended westwardly to Fourth Street, and north-
wardly nearly one hundred feet to the carriage-way of Willing's
house on its south side. This latter house occupied the site of
the present offices of the Lehigh Valley Railroad Co. Penn's
house is said to have been built by Willing for his daughter,
Mrs.' Byrd ; but this seems to be erroneous, for he died in 1754,
while .she was married in 1761 . Charles Willing, however, ac-
quired the lot of ground soon to be spoken of as patented in
1760 to his son Thomas, and in 1749 he, Charles, erected on a
part of it his ample mansion-house at the southwest corner of
Third Street and Willing's Alley. And it is altogether probable
that he designed his daughter, when married, should have
the lot on which the Byrds' house was afterwards erected.

"As this was one of the noted houses in colonial times, it may
be as well to give a few more lines about it. In 1760 a patent
was granted to Thomas Willing, son of Charles, for a lot of about
one hundred and sixty feet on Third Street, which included the
property spoken of. February 23d, 1761, Thomas Willing con-
veyed to William Byrd and Mary, his^ wife, who was a sister of

( 8 )

the last two gentlemen are still conspicuous for their
musical attainments. Later than the time of the
above, Mr. Thomas Sully, the celebrated artist, took
part in musical soirees with his fliite.

Mrs. Thomas Willing was an admirable per-

Willing, thirty feet front on Third Street and extending to
Fourth, bounded on the south by Charles Steadman's lot, and
with a restriction in building to fall back ten feet from the
west line of the street. January 23d, 1762, Willing conveyed
to the Byrds thirty feet more on Third, bounded on the south
by the house and lot of the said Byrds. November 27th, 1764,
the Byrds, reciting that they had erected a house on the two
lots or on one of them, and other buildings, conveyed said
house and the two lots to Adam Hoops. February 4th, 1765,
Hoops granted to Chief Justice AVilliam Allen the southernmost
thirty feet, and the messuage, kitchen, stables and other build-
ings thereon. December 23d, 1766, Allen conveyed the satpe
to Governor John Penn and wife, who was an Allen. Penn
subsequently acquired other properties to the north of his
house. May 3d, 1771, Penn and wife conveyed to Chief Justice
Benjamin Chew the whole property, one hundred and eighteen
feet on Third Street and extending to Fourth, the same being
bounded on the south by the messuage and lot of Charles
Steadman, but then of Samuel Powell, which house is now
standing, and on the north by the grounds of Thomas Willing.
"Chief Justice Chew occupied the house until his death in
1810, and his widow remained in it until about 1819. About
the year 1810, Benjamin, a son of the Chief Justice, erected on
the western part of the lot the large double house which stood
in Fourth Street, directly opposite Locust, then Prune Street,
now the site of some of the offices of the Pennsylvania Kail-
road Company. Here he and his family lived until 1831, when
it became the property and residence of the Mexican family of
De la Cuesta, and afterwards of Commodore David Conner."

( 9 )

former on the harp. The Hon. Charles Augustus
Murray thought her the best performer on that in-
strument that he had ever heard. In his "Travels
in North America" he says: "At Philadelphia my
ear was entranced by the very sweetest and most
powerful harpist whose fingers ever swept the
chords." She had frequent musical reunions of
ladies and gentlemen amateurs at her housie. on
which occasions Mr. DaConinck, from the Con-
servatoire at Paris, played the accompaniments.
Mrs. Willing was the daughter of Mrs. Carter, of
Virginia, and was a niece of General Robert E. Lee.

The musical soir^s of the late Mr. and Mrs.
Franklin Peale, both accomplished musicians, were
notable for their excellence and for the talent, both
amateur and professional, that was sure to meet
there during a portion of each year at their fort-
nightly reunions.

English opera was the only approach to dramatic
music heard here during the fijst quarter of the
present century. Several of these musical plays
were performed in the latter part of the last century.
The earliest name of distinction was that of Mrs.
Oldmixon, wife of Sir John Oldmixon, Bart. She
played Clorinda in the opera of "Robin Hood" at
the Chestnut Street Theatre in 1794, and was an-

( 10 )

nounced as "Mr.'^. Oldmixon, late Miss George, from
the Royal Drury Lane Theatre, London, being her
first appearance in America." She afterwards
played in New York. After 1814 she resided in
Philadelphia and Germantown. She sang in the
usual ballad operas popular in those days.

" The Archers ; or, Mountaineers of Switzerland,"
is said to be the first American opera. It is based
on the story of William Tell ; libretto by William
Dunlap, author of "The .History of the American
Theatre," also of "The History of the Arts of
Design in the United States." The music was
composed by Benjamin Carr, brother of Sir John
Garr. It was first performed in New York, April
18th, 1796. It was probably performed in Phila-
delphia, where Mr. Carr resided and was highly
respected. Some of his sacred music is still sung-
in the churches. He came to this country in
1794.

In 1817-8, Incledon and Phillips, both cele-
brated in England, played in a series of the popular
operas,— "The Devil's Bridge," "Maid of the Mill,"
"The Duenna," etc. In 1823 Mr. Pearman sang in
the above plays, including "Glari; or. The Maid of
Milan," which was just written, and in which was
heard for the first time the song of "Home, Sweet

( n ).

Home.'" In the published music it is called "a
Sicilian air;" but it is generally conceded to have
been composed by Henry Bishop, who wrote the
music of the operetta. Sixty years have now
passed, and no one has ever found that "Sicilian
air," except in Bishop's "Clari."

The first attempt to produce what is now recog-
nized as opera was on March 18th, 1825, when the
stock company of the Chestnut Street Theatre per-
formed "Der Freischiitz." It is stated that "the
orchestra was very much excited over the event."
An English version was produced for the first time
in London in 1824, "with many ballads inserted."
The stock company appear to have rested on their
laurels, as no further attempt was made to produce
lyrical drama in English for several years. In
January, 1827, Mrs. Knight, from Drury Lane
Theatre, London, sang with Mr. Heyl in a series
of musical plays.

The following is a list of some of the most popu-
lar of the English ballad operas:

" Beggars' Opera." Gay. Music by Pepusch.
" Love in a Village." Bickerstaff. Dr. Arne.

1 Among the treasures of the Historical Society is an auto-
graph copy of John Howard Payne's "Home, Sweet Home."

( 12 )

" Devil's Bridge."

Braham.

" Cabinet."

Braham.

" Duenna." R B.

Sheridan.

lAnley.

"Spanish Maid."

Linley.

" Carnival op Venice."

Linley.

"Selima and Azor."

Linley.

"The Camp." Sheridan}

"Guy Mannering."

Bishop.

"The Slave."

Bishop.

"Clari, Maid of Milan."

John Howar

■d Payne.

Bishop.

"Miller and His Men."

Bishop.

"Rob Roy."

Davy.

"Lord of the Manor."

General Burgoyne.

Jackson o

f Exeter.

" Waterman."

Dihdin.

" (Quaker."

Dibdin.

" Castle of Andalusia."

Dr

. Arnold.

" Mountaineers."

Dr

. Arnold.

" Inkle and Yarico."

Dr

. Arnold.

"Surrender of Calais."

Dr

. Arnold.

"Poor Soldier."

Shield.

1 He married Eliza, the beautiful and accomplished daughter
of Thomas Linley. Moore in his life of Sheridan says of her :
"There has seldom existed a finer combination of all those
qualities that attract both eye and heart, than this accom-
plished and lovely person exhibited."

( 13 )

" Woodman." Shield.

"Haunted Tower." Storace.

" No Song, No Supper." Storace.

" Siege of Belgrade." Storace.

"The Pirates." Storace.

"Paul and Virginia." Mazzinghi.

" Olympic Revels." Barnett.

" Midas." Barnett.

Italian Opera.

In 1825, the celebrated Manuel Garcia brought
to New York a company of excellent artists in
order to found an opera there. This was the first
Italian troupe that visited this country. The com-
pany included the young Crivelli as tenor, his own
son Manuel, Angrisani as bass, De Rosich, Mme.
Barbiere, Mme. Garcia, and his daughters Marie
and Pauline, afterwards Mme. Viardot. He pro-
duced eleven operas in one year. His daughter
Marie Felicita appeared in " II Barbiere," " Otello,"
"Romeo," "Don Giovanni," "Tancredi," "Cener-
entola," and in two operas written for her by
her father, "L'Amante Astuto," and "La Figlia
dell'Aria."

Garcia was of a harsh and tyrannical dispo-
sition, and, "in spite of her repugnance to the

( 14 )

union," gave Marie in marriage to M. Malibran,
a French merchant over fifty years of age, and
supposed to be wealthy. M. Malibran soon after-
wards failed in business and was imprisoned for
debt. Marie surrendered to his creditors all claims
which she had on his property; which generous
act added to the enthusiasm of her New York
admirers. In September, 1827, she returned to
France. Garcia had already left New York and
taken part of his company to Mexico. Of these
artists, one, the greatest of them all, was heard
in Philadelphia in concert. Marie Malibran sang
in the Musical Fund Hall. Mr. DaConinck, of
the Conservatoire in Paris, accompanied her on
the piano. I have frequently heard him speak
with delight of her singing after the concert was
over and the audience gone. Finding the acous-
tic qualities of the house so excellent, she walked
up and down the hall, extemporizing, while he
played an accompaniment. She sang also, at a
concert in the Chestnut Street Theatre, the favor-
ite scena from " Tancredi," in costume ; also " Una
voce poco fa," in > character, " Home, Sweet Home,"
and other pieces. She was seventeen years old
when she came to New York, and died at the

( ir> ) ,

age of twenty-eight; and although so young, no
dramatic singer ever attained a greater fame.

Many Philadelphians went to New York to
hear Garcia's company, and the best judges of
singing expressed their unqualified admiration
of the performances. Garcia was a vulgar-look-
ing man off the stage, but in "Don Giovanni"
"he looked the perfect Don." I have often heard
the late Mr. Hartman Kuhn and Dr. LaRoche
express the pleasure they received; and better
judges of music than these gentlemen I have
never known.

Garcia returned to Europe in 1829 and died
in 1832. He was the best teacher of singing in
Europe. Among his most celebrated pupils were
his daughters, Mme. Malibran and Mme. Viar-
dot, Mmes. Rimbault, Ruiz-Garcia, Countess Mer-
lin, Adolphe Nourrit, GSraldy, and his son
Manuel.

Manuel Garcia, Jr., once more in Paris (1829),
quitted the stage and devoted himself to teach-
ing; He undertook an inquiry into the confor-
mation of the vocal organs, the limits of the
registers, and the mechanism of singing. He
was the first to apply the laryngoscope to this
purpose. His "Memoire sur la Voix Humaine"

( 16 )

was presented to the French Institute in 184()
and obtained the congratulations of the Academy.
Catharine Hayes and Jenny Lind were among his
pupils.

In Philadelphia, the taste for operatic music
has been of gradual growth. Previous to 1827,
we had nothing higher in the form of opera
than the ballad dramas before mentioned. Oc-
casionally, with the aid of such vocalists as
Mme. Feron, Mrs. Austin, Mr. Sinclair, or Mr.
Jones, they would produce skeletons of works of
more pretension, but always interlarded with bal-
lads or selections from other operas.

French Opera.

To the French company from New Orleans
we are indebted for the introduction of the first
opera with any completeness in its details. The
performers were generally good actors, especially
in the comic parts, and, although none were
more than second or third-rate singers, they
were usually fairly good musicians and had some
appreciation of musical effects.

This company appeared at the Chestnut Street
Theatre, September 28th, 1827, and performed the-
following operas:

( 17 )

1827, "Le Petit Chaperon Rouge." f-critLXP-
"JocoNDE." By Isouard.
"Robin DEs Bois." «u_>-^m <? '-^ 3 "^"7
"Der Freischutz." _^-y

" AzEMA." ~ Oc^ 5^' -"^ e-^^ '

"La Dame Blanche."

" Le MAyoN."

" Werther."

" Therese."

" Rendezvous Bourgeois." i '^-> i

" Le Solitaire." ^^oJL^l^^ ^^ ' "^ ^
The operas were usually preceded or followed
by a vaudeville. The performers were Mmes. Alex-
andra, Milon, Chollet and Bolze; and MM. Rich-
ard, Alexandra, Rochfort, Le Blanc, Tabary and
Theodore.

1828. The French opera company again appeared,
September 17th, and performed:

" JOCONDE." , ,

"La Fete du Village Voisin." - /3 ^ "U '^'^^-t^
" Adolphe et Clara." (; ^ CaA^am^ ^^ 2
"La Dame Blanche."

"Le Petit Chaperon Rouge."

"Les

"Les Visitandines."

Petit Chaperon Rouge.' rf^iCVj

VOITURES VeRSEES." Sx*^ '

( 18 )

" Lk Nouveau Seigneur de Village." ^ a' :>

"Cendrillon."- TVucrta- C^ ^-^,^^j i' i' -
" Les Folles Amoureuses."
"Aline."- (Jet Q 'rS / / •>
" Le Solitaire."

" Der Freischutz." A" ->- /CV^ /

" Jose in Egypj'." >vc ^^'^^ ^ ^^ ^

" La Vestale." - ^..^vCliJvU ^^^'i^J^^fe '.a/^')
" Jean DE Paris." - /5^;y\t.^A*^»— C\i<^^lJl I C'^

"Trexte Ans de la Vie d'un Joueur."

"FlORELLA." -(JLmSj^"^ yUr^ ^^ /b ^ -^ ■

" Hamlet as a Tragedy."

^ ^ . ■^i

j-fi p

1829. In September, the same company at the Chest-
nut Street Theatre performed several of the above
operas, with the addition of the following list: -f /)
"La Fiancee." -CD^Cj-v ^~- ' ' ^'^"^ (^T
"GuLisTAN." <^<^'^<*i; '-^ S>y 1 , 2-? I r

"La Caravan du Cairo." --■/; , y^^^>.,K^ ^;- ^^^i

» "La Dame du Lac."-^,^ q^ ^^^'^ ^Y' 'f/^^^

"Le Calife du Bagdad." j^^^^^ Cct)"!^ ^a
Artists: Mmes. Milon, Bolze and Alexandr6; ^'
MM. Privat, Notaire, Alexandr6, Deschamps and
Theodore.

iMSMji - - ^r- ' '"' ''

2a ^< '^.

<i 1-^/!

( 19 )

1830. The French troupe were again at the Chest-
nut Street Theatre in September, and during the
season performed:

2i "CoMTE Ory." By Rossmi. Z*

"La Muette de Portici." Auher.

"La Dame Blanche." ' Boieldieu.

" Fra Diavolo." Auber. %»f

"GuiLLAUME Tell.'' Rossini.

" Le Barrier de Seville." Rossim.

" La Clochette." Herold.

" La Gazza Ladra." Rossini. S^

Artists: Mmes. Berdoulet-Paradol, Milon, Choi-
let, St. Clair and Georges; MM. Deschamps, St.
Aubin, Privat, Victoria, etc.

The French troupe from New Orleans opened
September 8th.

In^ addition to their performances last year, they
gave the following:

1831. " Le Petit Matelot." -G-^^'^'^^''- ''''jo*
" La Pie Voleuse." — '^-^ V ^ Ij i
" La Jeune Prude." (W (xS) c c/ "7 i >' / ^
In September of this year, at the Walnut Street

Theatre, there was a short season of opera in Eng-
lish, "The Marriage of Figaro," with Wemyss as

( 20 )

the Count, and some ballad operas by the stock
company. c, | /g-,l<y-^)

^^ ^ "Tancredi" was produced for the first time in
this city, with Mme. Feron, Brichta, and Sig.
Angrisani, who came to this country with Garcia.
Only a portion of the opera, compressed into one
, act, was given. \-_,

1832. Jan. 6. "Beggars' Opera."

Miss Hughes and Mr. Sinclair.

Jan. 16. " Cinderella."

Mrs. Austin and Mr. Sinclair.

Sept. 10. " Masaniello."

Mme. Feron, Mrs. Rowbotham as Fenella,

and Mr. Sinclair.

Mme. Feron and Mrs. Austin were very popular

at this period, and performed in the ballad plays,

•^ and in the above-mentioned operas by Rossini,

Mozart and Auber; but they were never sung as

originally written. " Cinderella," for instance, was

a mere pasticcio, being made up from " Cenerentola,"

" Armida," " Maometto," and " William Tell." " No

better adaptation has yet been made, 1880." Mr.

Sinclair was a very popular tenor; Rossini wrote

( 21 )

the part of Idreno in " Semiramide " for him; his
daughter married Edwin Forrest, the tragedian.

Italian Opera in Philadelphia.
The first Italian company heard in this city was
the Montresor Troupe. They advertised that they
would open at the " Italian Opera-House, late
Chestnut Street Theatre." The first performance
was on :

1833. Jan. 23. "Eliza e Claudio."

By Mercadante.

Sig^. Giuseppe Corsetti, Gio. Bat. Montresor,

Francesco Sapignoli, Signore , Enrichetta

Salvioni, Adelaide Pedrotti, J^orenza Ma-

rozzi.

Boxes and pit, $1.

Jan. 29. "Il Pirata."

Si^. Pedrotti, Fornasari, Montresor, Sapi-
gnoli.

Repeated three times.

Feb. 4. "Italiana in Algeri."

Fornasari, Signore Verducci, Sapignoli, Pe-

( 22 )

Feb. 11. "Il Pikata."

Same cast.
Fornasari will sing "Largo al fattotum"
in full character.

Feb. 12. " Ceneeentola."

Montresor, Pedrotti, Fornasari, Orlandini.

Feb. 22. "Il Pikata."

Sixth time.

Feb. 27. "Otello."

Montresor, Pedrotti, Fornasari, Corsetti.

Rossini wrote this opera for Naples, 1816. It
was sung by Mile. Colbran, afterwards his wife,
and the two celebrated tenors, Davide and Nozzari.
The recitative in " Otello " is for the first time ac-
companied by the full orchestra. This opera re-
quires an exceptionally strong cast. On the Italian
stage it has been hqard with Rubini and Mario
{Otello and Roderigo,) as the two tenors, and Tam-
burini and Lablache {lago and Brabantio,) as the
two basses. Malibran and Grisi were two of the
most celebrated Desdemonas.

Tom Moore says: "Another electrifying obser-

( -23 )

vation of mine was that I would much rather see
' Othello ' and ' Romeo and Juliet ' as Italian
operas, played by Pasta, than the original of Shake-
speare as acted on the London stage." — Moore's
" Diary," edited by Lord Russell.

Lord Byron to Murray, Venice, February 20th,
1818 : " P. S. — To-morrow night I am going to see
* Otello,' an opera from our ' Othello ; ' one of Ros-
sini's best, it is said. It will be curious to see in
Venice the Venetian story itself represented, be-
sides to discover what they will make of Shake-
speare in music." Soon after he writes: "The
music, singing, dresses, etc., are very good,, but the
words on account of the 'cuts' make nonsense."

1833. Feb. Oratokio of "Moses in Egypt."
At Musical Fund Hall.
Fornasari, as Pharoah.
Corsetti, Moses.
Pedrotti, Aaron.
Signora Pedrotti, Elcia.
Signora Saccomani, Nicaule.
This was a company of much artistic merit.
Montresor, the principal tenor, though somewhat
passS in voice, had an admirable method and sang
with great expression. Signora Pedrotti was quite

( 24 )

acceptable, though she occasionally sang flat ; this
was, however, less offensive in her than was usual
in vocalists. Fornasari possessed an immense voice,
bass or baritone, and was considered a very hand-
some man. He appeared on second and third rate
stages in Italy in 1828. In 1831 he was singing in
Milan; next in New York in 1832. He sang in
Havana in 1835, and in Mexico, 1836. Chorley
says : " He sang with bad method and with con-
fidence."

This company introduced Bellini's music to us
for the first time, and the lovelj^ melodies of "II
Pirata" have never since been heard here, no
tenor being equal to the part since Montresor.

The " Pirata " was written for Rubini, the greatest
tenor that ever lived, except, perhaps, Farinelli,
who from accounts possessed the same marvellous
facility of voice and perfect union of the registers,
and the same mastery in swelling and diminishing
his notes. With this company came Bagioli, the
musical director, and Rapetti, the violinist and
leader of the orchestra. He has frequently played
in concerts in this city. Bagioli remained in New
York and taught singing.

( 25 )

1833. The French Opera Company, New Orleans,
Chestnut Street Theatre.

Sept. 12. " La Gazza Ladea."

M3I. Privat, Alfred, AmedSe, Gourdalt;
Mines. St. Clair, Mariage, Chambery.

Sept. 12. " Zampa."

Zampa, Hurteaux; Alphonse, Amedie; Ca-
mille, Mme. St. Clair; Ritta, Mme. Mariage.

The following operas were also performed by
this company :

"La Fiancee."

"Jean," and "Rossignol."

"Le Philtre."

"La Dame Blanche."

"La Tour de Nesle."

" La Muette de Portici."

Oct. 7. Mr. and Mrs. Wood, late Miss Paton, make
their first appearance at the Chestnut
Street Theatre, in
"Love in a Village."
Assisted by Messieurs Walton and Mwrdock.
Walton was baritone and played Figaro.

( --^^ )

"The Barber of Seville."
" Cinderella."
"Marriage of Figaro."
By the same performers, aided by Mrs.
Rowbotham and Mrs. Kent.

Oct. 16. " Guy Mannering."

"Benefit of Mrs. Wood, who will sing
' Here's bonny Scotland to thee ! ' and
'Lightly beats the heart.' Mr. Wood
will sing 'The Soldier's Tear,' 'The
toast be dear woman,' and 'The Sea.'
The performance will conclude with
"'The Waterman.'"

Oct. 18. " The Slave."

The Woods, and Mr. and Mrs. Maywood.

Oct. 19. " Rob Eoy."

Oct. 21. " Cinderella."

Oct. 22. " Masaniello."

By the same performers.

Oct. 23. Miss Fanny Kemble's first appearance.

( 27 ■)

1834. Feb. 10. "Marriage of Figaro."

Chestnut Street Theatre. The Woods,
Rowbotham, and Walton. Then follow:

" Masaniello."

" Der Freischutz."

"Fra Diavolo."

" Cinderella."

" Duenna."
The above artists and Mrs. Thayer.
" The Devil's Bridge," and "The Quaker."

March 6. " The Maid of Judah." (" Ivanhoe.")
The music taken mostly from "Mose in
Egitto."

In April, advertisements announced the open-
ing at the Chestnut Street Theatre of the Rivafiroli
Opera Troupe. Seven new operas will be per-
formed in the season, which is limited to ten
nights. The artists are :

Signorina Clementina Fanti, soprano.

Signorina Rosina Fanti.

Signorina Luigia Bordogni, contralto.

Mme. Schneider- Maroncelli, contralto.

Signor Fabj, tenor.

Signor Ravaglia, tenor.

( 28 )

Signor DeRosa, bass.

Signor Porto, bass.

With them came Gambati, so well known for
his performance on the cornet-&,-piston, at that time
a new instrument to us, and also for his contests
with John T. Norton on his trumpet. Norton, who
was a thorough John Bull, finally won the prize.
He used to boast that "macaroni could not play
against roast beef" Cioflfi, an excellent performer
on the trombone, came with this company.

J. T. Norton, "of the King's Theatre," first ap-
peared here in 1827. First night of the season :

April 9. "Il Barbiere di Stviglia."

April 11. "La Cenerentola."

Prince, Sig. Ravaglia; Dandini, DeRosa;
Cinderella, Signorina Bordogni; Clorinda,
Rosa Fanti; Magnijico, Orlandini.

April 17. " Matrimonia Segretto."

C. Fanti, Marozzi, Bordogni, Orlandini.

This opera is considered Cimarosa's masterpiece.
It was first performed in Vienna, 1792. The Em-
peror Leopold IL, who was present, was so delighted

( 29 )

that he ordered a supper for all the performers and
commanded a repetition of the whole opera. The
libretto was founded on Garrick and Colman's
^'Clandestine Marriage."

Lord Mount Edgcumbe, a high authority in the
early part of this century, and who wrote operas
himself, and held Cimarosa and Paisiello as
models, denounces in his " Musical Reminiscences "
the " innovations " that Rossini introduced into
dramatic music. Concerted pieces in which the
dramatic action is kept up are introduced in situ-
ations where formerly there would have been only
monologues. By degrees the. bass was brought for-
ward until it has become a principal character in
all tragic operas. In the old opera, the number of
characters was limited and choruses were seldom
introduced. Rossini gave us brilliant instrumenta-
tion, prominent parts for the bass and baritone, and
long and elaborate finales, and he accompanies the
recitative with the full band. Lord Mount Edg-
cumbe has no sympathy with these novelties, and
says : " If a satisfactory air is for a moment intro-
duced, which the ear would like to dwell upon, to
hear modulated and varied, and returned to again
[or " chewed up," as William Fry once said of the
airs of a certain opera], it is broken off and returns

( 30 )

no more. Even the prima donna, who would for-
merly have complained at having less than three or
four airs allotted to her, is now satisfied with one
trifling cavatina for a whole opera." Rossini's "in-
novations" have been adopted by all succeeding
composers, and even the best operas of the old
Italian school are heard no more on the stage.

April 21. " La Donna del Lago," Rossini.

James V., Ravaglia; Douglas, Porto; Rod-
eric, Fahj ; Ellen, Fanti; Malcolm, Sig-
norina Bordogni.

April 23. " Gli Akabi nelle Gallie," Pacini.

April 28. " Matilda di Sabean," Rossini.

Signorina C. Fanti.

May 5. " La Gazza Ladra."

At the Walnut Street Theatre.

Several of these operas were repeated.

In the United States Gazette, April 15th, 1834, a
critic writes: "Bordogni, the charming contralto,
in ' Cenerentola ' enraptured all hearers ; she is
young, beautiful and unaffected. The company
individually is inferior to Montresor's or Garcia's ;

( 31 )

but the ensemble immeasurably surpasses either of
them. The chorus in perfection unknown hitherto
in this country, and orcliestra unrivalled.

[Signed] Amateur."
Bordogni was the daughter of the celebrated
singing master of that name in Paris. She was
married in New York, in 1834, to I. B. I. Willent,
a distinguished performer on the bassoon.

In December, 1834, Miss Watson, Miss S. Phillips,
and Messrs. Latham and Hunt, played in English :
" Cinderella."
" Barber op Seville." "^
" Marriage of Figaro." ^
And some ballad operas.

1885. -^^®- ^'w^**'''; -^™- Rowbotham, Mrs. Watson,

Miss WatsOn, Messrs. Walton, Rowbotham
and Burton, during February, March
and December performed:

" Marriage of Figaro."

" Masaniello."

(The opera with a dumb prima donna.)

And several ballad operas.

1836. Chestnut Street Theatre.

Mr. and Mrs. Wood, and Mr. Brough, make

( 32 )

their first appearance, aided by Messrs.
Walton and Burton:

Jan. 18. " The Maid of Judah."

Followed by :
" Masaniello."
" Fra Diavolo."
" Barber of Seville."
This season was my first experience of opera.

Beaumarchais from his youth had a passion for
music; he sang with taste, and was a good per-
former on the flute and- harp. His reputation as a
harpist soon reached the ears of " Mesdames de
France," the daughters of Louis XV. These four
sisters with a retired mode of life devoted them-
selves to a variety of studies, and were especially
fond of music. " Mme. Adelaide played every in-
strument, from the horn to the jewsharp." They
expressed a wish to take lessons of Beaumarchais.
He received no payment. In the private parties of
the royal family, his talent and wit eclipsed that of
most of the nobles. He wrote the " Barber " in
order to introduce some Spanish airs which he
brought from Madrid. " I compose," he writes at
that epoch, " airs to my words and words to my

( 33 )

airs." The " Barber " as a comic opera was refused
point-blank by the Italian actors in 1772. Gudin
attributes this refusal to the principal actor, Clari-
val, who had commenced life as a barber, and who,
after representing Figaro in the shops of Paris, had
an invincible antipathy to every part which re-
minded him of his original profession.

Jan. 27. "The Mountain Sylph," Barnett.

Mr. and Mrs. Wood, and company, con-
sisting of Mrs. Rowbothom, Walton, and
some singing members of the Chestnut
Street Theatre.

Feb. 11. '' La Sonnambula."

First time here. Mr. and Mrs. Wood,
Mrs. Rowbotham, Brough, and Walton.
It was performed fourteen consecutive
nights.

May 13. "Sonnambula."

Twenty-first time, and for the -farewell
benefit of Mrs. Wood.

1837. Jan. 22. " Cindekella."

Chestnut Street Theatre. Mrs. Qibbs (for-

( 34 )

merly Miss Gmddon), Mrs. Rowbotham,
Messrs. Pearson, T., Walton, and Burton.

Jan. 27. "John of Paris."

Same companj^.

"SONNAMBULA."

By the same company; several repeti-
tions.
"Sonnambula" was composed in 1831. Ro-
mani, the first of modern Italian librettists, pre-
pared the book on the basis of a vaudeville and
ballet by Scribe. "No Italian opera before or
since ' Sonnambula ' has been so often played
in London." — 8. Edwards.

June 19. "Cinderella."

Arch Street Theatre. Miss Turpin, Mrs.
Rowbotham, Miss Morgan, Mr. Pearson.

" Sonnambula."
Same company.

Sept. 1. "Sonnambula."

Miss Horton, Mrs. R. Hamilton (late Mrs.
Rowbotham), Messrs. Horn and Brough.

( 35 )

Nov. 8. "Don Juan."

Chestnut Street Theatre. Miss Horton,
Miss Morgan, G. E. Horn, Brough, Pear-
son and Walton.

1838. Jan. 10. " Sonnambula."

First appearance of Mme. Otto, Mrs.
Hamilton, Brough.

Jan. 13. "Maid of Cashmere."

Petite Augusta {Miss Maywood), Miss Mor-
gan, Pearson.
"Castle of Andalusia."
Mme. Otto, Miss Morgan, Brough, and

Pearson.
Mme. Otto possessed a strong voice and
a strong German accent.

Feb. 12. " The Barber of Seville."

Mme. Caradori- Allan ; her first appear-
ance. Brough, Walton, Pearson and Bur-
ton.
She also appeared in:

"Love in a Village."
" Cinderella."
"Sonnambula."

( 36 )

With the exception of Walton, who lacked
musical training, but had some conception of
the music, the support was not worthy of notice.

Caradori-Allan had a lovely and highly-cul-
tivated pure soprano voice; not strong, but sym-
pathetic, and of large compass, good method
and execution. She was born in Milan in ISDO.
Her mother's name was Caradori. At the death
of her father. Baron de Munck, an Alsacian,
and colonel in the French army, she was-
obliged to use her talent for support, and made
her dibut on the stage in 1822. She died in
1865.

Mrs. Rowbotham, afterwards Mrs. Hamilton, was
a singing actress; but she acquitted herself very
creditably in the operas produced at this time.
She was intelligent, and quite agreeable on the
stage. Mr. Walton also gave considerable pleasure
in those early days of the opera.

Mar. 10. "Fra Diavolo."

Brough as Fra Diavolo.
First time here.

Nov. 19. "Amilie; or. The Love-Test."

W. M. Rooke.

( 37 )

Mme. Otto, Brougli, and Bishop.
First time, Walnut Street Theatre.

1839. Jan. 11. "La Sonnambula."

Chestnut Street Theatre.
Miss Shixeff, Messrs. Wilson and Seguin, Miss

DeBarr.
Their first appearance.

Jan. 18. "Amilie."

Miss Shireff, i/c;.s.si-.s. Wilson and Seguin.
These operas ran till the 29th.

Jan. 29. "Fra Diavolo."

Shireff, Wilson, Seguin, Walton, Horncastle.

" Cinderella."

"Marriage of Figaro."

"Guy Mannering."

"Love in a Village."
By the same com])any.

Nov. 4. "Der Freischijtz."

Mrs. Seguin, Messrs. Seguin, Horncastle and
Plumer, T.

Nov. 9. "Marriage of Figaro."

( 38 )

The Seguins, Horncastle, Latham, and com-
pany.
Boxes, 75 cents; pit, 37 J cents.

1840. Mr. and Mrs. Wood, and Brough, open at

the Chestnut with :

t

Oct. 26. "La Sonnambula."

And follow with their usual repertoire.
Mr. Braham appeared at the new Na-
tional Theatre, Chestnut Street near
Ninth, in the following operas :

Nov. 30. "tluY Mannerino."

Mr. Braham, Mrs. Baily, Miss Cushman.
"The Devil's Bridge."
"Love in a Village."
"Siege of Belgrade."
"The Slave," and the
"Cabinet."
"Norma."
First time in America, Chestnut Street
Theatre.
Translated by Joseph R. Fry from the Italian
libretto of Romani. He and his brother, William
H. Fry, produced the opera at their own risk. It
was admirably placed upon the stage. There ap-

( 39 )

peared in it Mr. and Mrs. Wood, Mrs. Baily, and
Brough, and a large and well-drilled chorus and
orchestra.

1841.Jan. 11. "Norma."

First night at the National Theatre.
Mrs Sutton, ]\fiss Inverarity, Mrs. Martyn,

Mr. Thome.
The part of Clav.dio was sung by a woman.

Jan. 18. " Aetaxeexes," Dr. Arne.

National Theatre.
Miss Inverarity, Mrs. Sutton, Mrs. Martyn.

Feb. 4. "NoEMA."

Complimentary benefit to Joseph R. Fry.
Admission to all parts of the house, $2.

Mrs. Wood possessed a rich and powerful voice
of great compass, her low notes being full as a
contralto and her registers even and clear, up to
the highest limit of the soprano scale. She had
great facility, and sang with much dramatic feeling
and always with confidence, being an excellent
musician.

Mr. Wood's voice was a robust tenor; he was

( 40 ) ,

probably indebted to his wife for all he knew of the
art of singing.

Brough's vocalization was uncouth and rough,
and altogether deficient in method.

May 1. "La (Iazza Ladra."

Chestnut Street Theatre.
Misa Poole, the Seguina. Giithelei, and Pearson.

This opera was Avfitten for Milan in 1817. The
part of Nincfto was a favorite character with Sontag,
Malibran and (Irisi, and was sung in 1 .S21 by Mme.
Camporese in London, and by Mme. Fodor, the
Russian, in Paris ; both were admirable perform-
ances. The part of Pippo, originally written for a
contralto, used to be sung in London and Paris by
a baritone or bass. Lord Mount EdgCumbe con-
sidered " La Gazza Ladra " the most striking ex-
ample of the defects of the new style of drama.
The only opera of Rossini which he really liked
was "Aureliano in Palmira," written in Rossini's
earliest style, and which failed.

May 4. " Don Giovanni."

Qiuheld, Manvers, the Seguins, and Miss
Poole.

( 41 )
May 8. " L'Elisire d'Amore."

May 12. " Zampa."

First time in English.
The Seguins, Miss Poole, Manvers.
"Fra Diavolo."
" Cinderella."
" sonnambula."
Mrs. Seguiii as Amina.
" Midas."
Miss Poole and company.

June 7. " Norma."

The Seguins, Miss Poole, Manvers, Oiubelei.

June 11. " The Roof-Scrambler."

A clever burlesque by W. F. Johnston.

" Mitchell's Olympic Company."

Burlesque, from New York.

National Theatre.

Mitchell, Homcastle, Edwin, Mrs. Timm, and

Miss Turnbull.
Said to be very droll.

Sept. 1. Mile. Faniiij Ehslcr.

Chestnut Ftreet Theatre.

( 42 )

"Natalie." M. Sylvain.

" La Sylphide."

"La Cracovienne."

"Maid of Cashmere." Mile, des Jardins.

"La Smolenska."

Dec. 24. " The Bronze Horse."

As a spectacle, with a portion of the music.

Arch Street Theatre.
The first volume of the United States Gazette,
January-June of 1841, is yet wanting to complete
the full set belonging to the library of the His-
torical Society. There were no new operas to
note in this year.

1842. The Seguins, with Miss Chad and if?'. Shrival,
gave a series of operas at the Chestnut.

Dec. 5. " SONNAMBULA."

The Seguins, Miss Coad, Shrival, T., P. Rich-
ings.

" Barber op Seville."
" Postillion."

Dec. 15. " Israelites in Egypt." Rossini.

( 43 )

Seguins, Mrs. Bailey, Shrival, Richings.
Boxes, 50 cents ; pit, 25 cents.

1843. The Seguin company repeated their usual re-
pertoire.

Feb. 6. " Blanche op Jersey."

Chestnut Street Theatre, first night of the
French opera from New Orleans:

Sept. 14. " L'Ambassadrice."

Mile. CalvS, Mmes. Lecourt, Mathieu, Mile.
Lagier, MM. Lecourt, Bernard, Richer.
Boxes, 75 cents; pit, 50 cents.

Sept. 22. "Les Diamans de la Couronne."
Mile. CalvS, Mme. Lecourt, M. Lecourt.

Sept. 23. "Les Memoires du Diable."

Sept. 25. "La Fille du Regiment."

(Mv&, Mme. Mathieu, Robillion, etc.

Sept. 29. " Postillion op Lonjumeau."
Mme. Lecourt, M. Lecourt, M. Bles.

( 44 )

Sept. 30. " Le Grace de Dieu."

Jime. Lecourt, Mile. Eugenie, etc.

Oct. 3. " Le Domino Noir."

f Angile, the Black Domino,
Calv6< Ineselle of Aragon, and

(^the Abbess of the Convent.
Mme. Lecourt, Mathieu, Robillion; MM.
Richer, Lecourt, Dessonville.

Oct. 7. "Anna Bolena."

Anna, Mile. Calvi; Henry VLIL, M. Bles;
Percy, Lecourt; Jane Seymour, Mme. Le-
court.

Oct. 14. " POLICHINEL," " L'ECLAIR," and "ACTEOK."

Calv&, Eugenie, Mme. Dessonville, Lecourt.

Oct. 17. "La Perruche" and " La Rendezvous
Bourgeois."

Oct. 18. " Le Pre aux Clercs," Herold.

Mile. Calv6 was equally charming as vocal-
ist and actress. She was a graceful and light
soprano, and was a great favorite.

( 45 )

Miss Shireff was young and good-looking,
had an agreeable voice, and sang well, though
she could not be compared with Mrs. Wood as
an artist.

Mr. Wilson was the best tenor I had heard
up to that time. His voice was of considerable
range and his method much above the average
English vocalists. He and Miss- Shireff were
conscientious singers and always sang to the best
of their ability.

Mr. and Mrs. Seguin, Manvers, and some
others who came to this country, received their
musical education at the Royal Academy of
Music, London. They were all good musicians.
The late Benjamin C. Cross told me, when leader
of the orchestra at the Walnut Street Theatre,
that at the rehearsals Mrs. Seguin, on hearing
any musician of the band play a wrong note,
demanded to see the part, and if it was in-
correct she at once corrected it with a pencil.
Mr. Seguin had an excellent bass voice and a
good method, and was a capital actor. In Eng-
land he sang at the oratorio festivals, and al-
ways with great applause. In this country,
having to sing every night, his voice, of course,

( 46 )

became impaired ; but his good acting carried
him through with approbation.

Miss Poole had a contralto voice, smoooth
and round as her person. In ballads, such as
"Pray, Goodie," and "The Mountain Maid" in
" Midas," and as Pippo in " La Gazza Ladra,"
Ritta in " Zampa," and even Adelgisa in " Nor-
ma," she was charming, not so much by her
method as by her simplicity of manner and
lovely, sympathetic^ voice.

Miss Watson obtained some notoriety by her
escapade with Paganini. Her voice was an agree-
able low mezzo-soprano. She afterwards became
Mrs. Bailey.

Braham, nearly seventy yearS old when he
came to the United States, had the wreck of a
great voice. Time had brought some unfortu-
nate breaks in the registers ; but some notes
were grand, and he must have been very ef-
fective when in his prime, in ballads such as
"The Bay of Biscay," and the like.

Shrival was a feeble tenor, with neither
style nor expression.

Manvers, although he had not much voice,
sang with some taste. He was a tenor.

( 47 )

Giubelei, baritone, was a good artist and
had a good method.

An Italian opera company played a short
season at the Chestnut Street Theatre :

Nov. 13. "Norma."

Ester Corsini, Amalia Majocchi, Perozzi,
Valtelina.

Nov. 15. " Lucia di Lammermoor."
Majocchi, Perozzi, Valtelina.

Nov. 17. "Belisakio."

Sig. Calvet, Vittoria, Signore Corsini and
Majocchi.

Nov. 20. "PURITANI."

Corsini, Calvet, Perozzi, Valtelina. .

" Gemma di Vergy."
Majocchi, Calvet, Perozzi, and company.

Dec. 14.

Concert of the Musical Fund Society.
Madame Ointi Damoreau, and M. Artot on
the violin.

( 48 )

] ,S44. The Seguins, with Mrs. Phillips and Shrival,

T., open a season of opera at the Chestnut
with :

April .'5. " SONNAMBULA."

Followed by their usual series, and pro-
ducing for the first time in English :

April 1 2. " Anna Boleyn."

Translated by Joseph R. Fry.
Shrival, the tenor, was so wretched that the
performance left no impression on me.

May 28. " Gustavus III. ; or, The Masked Ball,"

Auber.
Seguins, Richings, Shrival, Johnston.

Dec. 30. " Bohemian Girl."

First time.
Seguins, Messrs. Tumbull, Frazer, Brunton.

1845. June 4. First night of William H. Fry's opera:

" Leonora."
Libretto by Joseph R. Fry.
Mr. and Mrs. Seguin, Miss Inee, Frazer,
Richings.

( 49 )

Orchestra of fifty instruments and a grand
chorus of seventy voices, and new
scenery.

" Leonora " is the first American work worthy to
he called an opera. It is written in the Italian
manner, in which there is no spoken dialogue, and
all the airs, recitatives, etc., are accompanied by the.
full orchestra. The melodies are expressive and
flowing, the concerted music is effective and large
in style, and the choruses full of spirit. Mr. Robert
Patterson, who was more intimate with William
Fry than I, says of his operas : " They were ambiti-
ous attempts, and brought out with large and ex-
cellently-drilled choruses and orchestra ; the solo
singers were of but moderate excellence. Mr. Fry
was well educated, and wrote skilfully for the voice
and orchestra. He was thought by some to lack-
originality, although that is by no means my own
judgment. Had his opportunities been better, as
his musical genius was realh' great, he would doubt-
less have outgrown some defects and. developed into
a composer of recognized merit ; but the necessities '
of his life constrained him in a great measure to
abandon music for the engrossing labors of an
editor."

"Anna Bolena," which was produced April 12th,

( 50 )

was so weak a performance, owing to the feebleness
of the tenor, that it would deserve no notice, except
to account for the introduction into the opera of the
air of " Home, Sweet Home."

Lord Houghton, writing to the London Athen-
seum, says : " I was residing at Milan with my
family at the time of the production of 'Anna
Bolena' (1830). We were very intimate with
Madame Pasta. I well remember her calling one
day and telling us she was very much discontented
with her share in the partition of the last scene of
the opera, and added : ' You English have so many
beautiful airs which you sing among yourselves,
that I am sure you could help me.' My mother,
who was a fine musician, mentioned ' Home, Sweet
Home.' She sang it, and Mme. Pasta, sitting down
to the piano, said : ' It will do ! I am sure it will
do ! ' Donizetti adopted it accordingly, and thanked
us for having got him out of the difficulty."

"Anna Bolena" was composed for Pasta, Rubini
and Lablache.

The French Opera Company from New Orleans
appear for a short season. Chestnut Street Theatre :

Sept. 29. " La Favorite."

( 51 )

Mile. Calve, Mme. Cosuriot, M. Arnaud,
Oarry.

Oct. 1 . "La Fille du Regiment."

Marie, Calvi; Sulpice, Bernard; Mathieu.

Oct. 2. " Robert le Diable."

Robert, Arnaud; Bertram, Douvry ; Isabella,
Casini; Alice, Mme. Coeuriot.

Oct. 3. " Le Domino Noie."

Angeli, COlve; Brigite, Coeuriot.
Followed by :
"Les Petites Miseres de la Vie Humaine."

Oct. 6. "La Muette de Poetici."

M. Arnaud; Elvira, Casini; Fenella, Coeuriot.

Oct. 8. " L'Ambassadrice."

CalvS, Cosuriot.

Oct. 9. "La Juive."

Rachel, Arnaud, Douvry, Mme. Casini.

Oct. 11. "Les Huguenots."

Valentine, Calve; Margarite, Casini; Ur-

( 52 )

bain, Mme. Richer; Arimud; Marcel,
Dotivry.

Chestnut Street Theatre.

Oct. " SONNAMBULA."

" Freischutz."

" Fra Diavolo."
Miss Delcy, Gardner, and Brough.
Wretched.

Nov. 11. "The Puritans."

English version.
The Seguins, Frazer, and Delavanti.

" SoNNAMBULA."

" Love-Spell."
"Norma." ■
"Bohemian Girl."
"Rob Roy."^

1846. Feb. 21. "The Enchantress."

At the Walnut Street Theatre, by \h.e
stock company, Peter Richings, Wheatley,
Chapman, Miss Goad, etc. It had a
long run! "The Enchantress" was
written by Balfe for Mme. Thillon.

( 53 )

March 21. "Bohemian Girl."

By the same company.

April 27. "Don Pasquale."

Chestnut Street Theatre.
The Seguins, Frazer, Meyer.
Boxes, 50 cents.
" Olympic Revels."
Prometheus, Seguin; Svnss Boy, Burton;
Jupite); Frazer; Pandora, Mrs. Seguin.

May 6. " The Brewer of Preston."
The Seguins and Frazer.
" Elixir of Love."
" John of Paris."
"Maritaxa," etc.

Decs. Fry's "Leonora."

Walnut Street Theatre.
The Seguins, Miss Aitstin, Frazer, Aleyer..
Sung four consecutive nights.

Dec. 16. " LuLi," By /. T. S. Sullivan and Jarvis.
The Segvdns, Frazer, Chapman, Miss Austin,
Ran four nights.

( 54 )

Frazer was acceptable as an English singer of that
time, though much inferior to Wilson.

1847. A\'alnut Street Theatre, July. The following ad-
vertisement appeared in the newspapers : " The di-
rectors of the Italian Opera Company from Havana,
seventy-two in number (whose recent brilliant suc-
cess in New York and Boston has been beyond all
precedent), respectfully announce that they will
commence a season of eight nights only."

July 12. "Saffo," Pacini.

Signorina Fortunata Tedesco, Perozzi, Pie-
montesi, Candi, Mme. Marini.
Repeated.

July 14. " Hfrnani."

First time in Philadelphia.

'IvdcHco, N. Perelli, Luigi Vita, Novelli.
Repeated.

July 17. '" I LoMBARDI."

At the first Crusades.
)S%'. Gerdi, Caranti de Vita, Perozzi, Novelli.

July 19. "Due Foscari."

( 55 )

First time in this city.
Vita, Perelli, Battalini, Sig" Ranieri, and

Gerdi.
This opera has never since been repeated

here.

•July 20. " SONNAMBULA."

Caranti de Vita, Perelli, and Vita.

July 22. " Moses in Egypt."

Chinese Museum.

Caranti de Vita, Gerdi, Perelli, Novelli, Pe-
rozzi, Vita.

July 23. "Norma."

Tedesco, Ranieri, Severe, T., Battalini, B.
Repeated.

July 24. " SoNNAMBULA."

After the opera, "La Festa degli Zin-
gari," a grand duo di bravura for the
violin and double-bass, composed and
executed by Bottesini and Arditi.

July 28. "Linda."

( 56 )

Battalini, Perelli, Novelli, Caranti de Vita,
Marini, Vita.

Aug. 6. " Romeo and Juliet," Bellini.

Romeo, Tedesco; Jidiet, Caranti de Vita;
Perozzi.

Boxes, $1 ; pit, 50 cents.

This company was the first to introduce Verdi's
music to Philadelphia, — his sustained style, in-
tensely dramatic situations, grand finales and con-
certed pieces ; altogether it was a new experience
to us.

Fortunata Tedesco was a mezzo-soprano, with a
full, strong, luscious voice. She was deficient in
method, but c^uite effective in Verdi's music.

Natale Perelli, the tenor, was an excellent mu-
sician and sang very well. He was induced by Mr.
Pierce Butler to remain in Philadelphia and give
lessons in singing. He did more to improve the
taste and extend the knowledge of vocal music than
all the teachers who preceded him.

Luigi '\''ita, baritone, had a pure voice and ex-
cellent method.

Novelli was a good bass and had a good method ;

( 57 )

his respiration was deficient, but his knowledge and
skill rendered it scarcely perceptible.

Severi, tenor, lost his voice in crossing the ocean.
His style was good, but he sang flat. In this city
he appeared only in " Norma."

With this troupe came Arditi and Bottesini, the
greatest contra-bassoist that ever lived. He was su-
perior to Dragonetti. Lumley, the celebrated Eng-
lish impressario, said of Arditi : " Taking all his
qualities into account, no abler conductor ever
reigned in England."

Oct. 11. The Seguin troupe open a short season at
the Walnut Street; no novelties.

Nov. 22. ' " Norma."

Walnut Street Theatre.

Mme. Anna Bishop, Mrs. KorsinsJd, Valtelina,
B., Reeves, T. ; Director, Bochsa, the cele-
brated harpist.

" SONNAMBULA."

" Linda," and
" LucKEziA Borgia."
Same company.

( 58 )

Dec. 29. " The Maid of Artois," Balfe.

Mme. Bishop, Miss Barton, Reeves, and Brough.

Madame Anna Bishop was a high soprano and
a good artist. Her voice was somewhat veiled and
worn ; her method M'as good, and she was also a
good actress. Her husband was Sir Henry Bishop,
the eminent musical composer.

1848. Sanquirico and Patti's Opera Company gave a
short season at the Chestnut Street Theatre.

Feb. 19. " Gemma di Veegy."

Sig^. Barili Patti, Amalia Patti, Arnoldi,
T., Rossi Cor si, and Rosi.

This company broke down without com-
pleting their engagement.

March 1. " Lucia di Lammermoor."

Signora Biscaccianti, nee Ostinelli, her first
appearance ; Benedetti, Avignone, Oenovesi.
Ran several nights.

March 7. " Luckezia Borgia."

Signorina Truffi, Benedetti, Rosi, Sig^. Liefti

Rossi.
Four nights.

( 59 )

March 15. " Ernani."

Truffi, Amoldi, Beneventano, Rosi.

March 20. " Giurambnto."

Truffi, Lietti Rossi, Benedetti, Ben&ventano,
Piemontesi.

Benedetti had a robust tenor voice of limited
extent, but it was sympathetic in quality. He was
neither a good musician nor of a good school ; but
he was exceedingly dramatic in his conception of
the music and in his declamation, and was a great
favorite.

Truffi's voice was a mezzo-soprano of consider-
able power. She was a handsome woman, and
very dramatic in style and acting. Her vocalization
was far from perfect, and she had a tremolo in her
voice which marred the effect of her singing ; but
she impressed her audience in a high degree by her
earnestness and abandon, and by her excellent
dramatic expression.

Madame Biscaccianti's voice was a clear soprano,
with moderate execution and but little dramatic
expression.

Avignone, baritone, had a tremolo in his voice
which he could not control ; but he had a refined

( 60 )

feeling for music and a good method, and was an
intelligent and worthj- man.

June 5. " SONNAMBULA."

Chestnut Street Theatre.
Biscaccianti, Perelli, Novelli.
Five nights.
50 and 25 cents.

June 12. " Lucia di Lammermook."
Biscaccianti, Perelli, Avignone.

Aug. 14. " II Barbieke."

Walnut Street Theatre.
Rosina, Lietti Rossi; Covmt, Vietti; Figaro,
Rossi Cor si; Bartolo, Sanquirico ; Bondi.

Aug. 15. Vocal concert, and instrumental music by
Bottesini and Arditi between acts. These
performances ran for two weeks.

Sept. 20. Grand concert of vocal and instrumental
music. Perelli, Avignone, Miss Northall,
Signori Bottesini . and Arditi. " Grand
duo for the violin and contra-basso, on
airs from ' Puritani,' and dedicated to

( 61 )

the American nation, by Bottesini and
Arditi."

Sept. 25. The Seguins gave a short season at the
"Walnut. No additions to their ri.per-
toire.

Italian Opera, Chestnut Street Theatre.

Oct. 5. " NOKMA."

Traffi, Amalia Patti, Benedetti as Pollio (first
time on any stage), and Valtelina as
Oroveso.

Oct. 6. " L'Elisire d'Amoee."

Mme. Laborde, M. Laborde, Sanquirico.
Boxes, $1.

Oct. 16. " LucREziA Borgia."

Truffi, Amalia Patti, Benedetti, Rod.

Oct. 21. " Lucia."

The Labordes, Dubreul.

Oct. .25. "Linda."

Labordes, Mrs. Boulard, and Dubreul.

Nov. 6. "A new 'Apropos Overture,' by Mme.

( <i2 )

Bishop, and an entirely new piece de
circonstance, entitled ' La Sfogata,' in
which Mme. Bishop will sustain seven
characters."

Dec. 5. " Linda."

The Labordes, Signorina Pietto, Sanqiiirico.

Dec. 11. " Norma."

Labordes, Amalia Patti, Novelli.

Dec. 19. " Ernani."

Four nights.

Truffi, Perelli, Dubreid, Novelli. Conductor,
2Iarefzck.

Dee. 25. " Lucrezia."

Truffi, Rossi Corsi, Benedetti, Rosi, Givbelei.

Dec. "27. " I Lombardi."

1849. T)'uffi, Mme. Boulard, Benedetti, Rosi, Patti, T.

Jan. 1. "Il Barbierb."

3Ime. Labor de, Sig. Patti, T., Rossi Corsi
{Figaro), Sanquirico, Giubelei.

April 23. " The Enchantress," Balfe.

( 63 )

' The Seguirhs, Holman, Leach, W. H. Reeves.
Followed by their usual series.

Oct. 1. " Daughter, of the Regiment."
Walnut Street Theatre.
Miss Rosa Jacq\i,es, Reeves, Seguin, Mrs.
Blake.

Oct. 2. " The Bravo," Mercadante.

First time in America.
The Seguins, Reeves, and Mr. RicJpings as
the Bravo; Violetta, Mrs. Seguin; Meyer.

Oct. 12. "Don Giovanni."

The Seguins, Miss Jacques as Zerlina, Reeves,
Meyer.

Nov. 26. Seguins again, at the "Walnut; nothing
new.

1850. The celebrated Havana Italian Opera

Company will perform at the Chestnut
Street Theatre :
Sept. 10. "Norma."

Signorina Balhina Steffanone, Mile. Costini,
Lorini, Ignazio Marini.

( 64 )

Sept. 11. "LucREziA Borgia."

tSignorina Bosio, Signorina Vietti, Sig. Ma-
rini, Lorini, Coletti.
Boxes, $1 ; reserve, 50 cents.

Sept. 13. " Lucia di Lammermoor."

Angioliiia Bosio, Sig. Cesare Badiali, Lorenzo
Salvi, Coletti, F. Badiali, Baratini.

Sept. 14. "Ernani."

Steffanone, A. Vietti, T., Badiali, and Marini,
for whom the part of Silva was written.

Sept. 16. "Sapfo."

Signorina Tedesco, Vietti, Lorini, Baratini.
Orchestra of forty instruments, under
Signer Arditi. Maestro of the company,
Sig. Bottesini.

Sept. 20. "Lucia."

Fourth time, cast as on the 13th.

Sept. 21. Grand farewell concert of the Havana
Opera Company, at the Musical Fund
Hall:
Bosio.

( 65 )

C. Vietti,

Costini,

Marini,

Badiali,

Salvi,

Bottesini, on the double-bass.

Sept. 23. "LucREZiA Borgia."

Written 1834.
Marini, Bosio, Lorini.
" Lucrezia Borgia " was written for Milan. In
1840 it was produced in Paris. Victor Hugo, author
of the tragedy on which it was founded, contested
the right of the Italian librettists to borrow plots
from French dramas. He gained his action ;
" Lucrezia " became at the Italian OpSra in Paris
" La Rinegata," the Italians at the Court of Pope
Alexander VI. being metamorphosed into Turks.

Oct. 17. Mile. Jenny Lind's first grand concert at the
Chestnut Street Theatre. Tickets sold
at "auction.

Nov. 27. Jenny Lind's thirty-fourth concert in
America.

( 66 )

Dec. 10. Italian Opera, Chestnut Street Theatre.
" Lucia."
Mme. Bertucca (her first appearance in
opera); Forti, Avignone, Rod.

Dec. 12. " Don Giovanni."

T)-uffi, Amalia Patti, Beneventano, Forti,
Rod, Sanquirico, Giubelei, Bertucca as Zer-
lina.

Boxes, $1.50 and |1.

Dec. 16. " Ernani."

Truffi, Forti, Rosi, Avignons.
Repeated.

Dec. 18. " LucKBZiA."

Four nights.

Teresa Parodi, A. Patti, L'orini, Beneventano.
Parodi nights, $2.50, $2 and $1.

Dec. 23. " Norma."

parodi, Patti, Lorini, Novelli. ♦

Dec. 24. " Ernani."

Parodi, Patti, Lorini, Avignone, Novdli.

( «7 )

Dec. 27. "Gemma di Vekgy."

Gemma, Parodi ; Ida, A.Patti; Tamos, Lo-
rini ; Count Vergy, Avignone ; Guido, No-
velli; Rolando, Giubelei.

Dec. 30. " Norma," and Rousset Sisters (dancers).
Cast as above.

1851. Jan. 4. "Paeisina," Donizetti.

Tniffi, Forti, Avignoni, Rosi.
Ballet, Mile. Fitz-James, Sig. Carrese.

Jan. 8. " GiURAMENTO," Mercadante.

Truffi, Perrini, M. Forti, Avignone, Giubelei ;
sixty dancers.

Jan. 10. " Ernani."

Signora Truffi-Benedetti, Forti, Avignone,
Rosi.

Jan. 13. "La Favorita."

Benefit of E. L. Walker.
Truffi, Forti, Benevantano, Rosi.

The whole of the fourth act, except "Spirito gen-
til," which originally belonged to the " Due d'Albe,"

( 68 )

and the andante to the duo, which was added at the re-
hearsals, was written in three hours. Donizetti was
dining with a friend who was engaged to an even-
ing party, but entreated Donizetti to remain and
finish his coffee, of which he was inordinately fond.
He asked for some music paper and began his fourth
act, and wrote till he completed it at one in the
morning, just as his friend returned.

Rossini was celebrated for his rapidity in compo-
sition. The beautiful prayer in " Mose " is a well-
known instance. Also the aria dei rizi, " Di tanti
palpiti," which was composed while the rice which
he had ordered for dinner was being fried ; hence
the name. This air was the favorite selection of
Pasta in concerts after her retirement from the stage.
It was also a favorite selection with Malibran.

Jan. 14. " Don Giovanni."

Truffi, A'. Patti, Bertucca, Forti, Beneventano,
Oiubelei, Sanquirico, and Rosi.

Jan. 15. " Ernani."

Benefit of Teresa Truffi- Benedetti.

Feb. 10. " Israelites in Egypt."

Barnum's Museum.

( 69 )

The Seguins, Mrs. Baily, Meyer, Gardner.
Followed by :

" La Gazza Ladra," and
" Dek Freiscbdtz."

Havana Opera Company, one hundred and
twenty in number, National Theatre.
Sept. 22. " Lucia."

Bosio, Bettini, Badiali, Coletti.

When our townsman, Mr. Alfred Durand, told
Rossini in Paris that we had " Lucia " in Phila-
delphia with Salvi, he said : " You have heard an
excellent artist." " We had Badiali for Arturo."
" He is superb." " And -we had Bosio for Lucia."
"Ah! you cannot hear that in Paris." Nilsson was
at that time singing there.

Sept. 24. " I PuRiTANi."

Bosio, Salvi, Badiali, Marini.

Boxes, $1.50, $1, and 50 cents.

Sept. 26. " Ernani."

Truffi, Bettini, Badiali and Marini, for whom
the part of Silva was written.

( 70 )

Sept. 27. , " SONNAMBULA."

Bosio, Costiid, Salvi, L'osi, and Oiubelei.

Sept. 29. "Dox Pasquale."

Written in 1843.
Bosio, Salvi, Badldii, and Marlni.

This was the most perfect performance I ever
witnessed. Each part was admirably filled. The
artists in this opera were probably but little inferior
to the great quartette for whom it was written, —
Grisi, Mario, Tamburini and Lablache.

Oct. 4. " Otello."

3Iine. Bertucca, Bcttini, Vietti, Coletti, Bene-
verttaiio.

Oct. 6. " LUCREZIA."

Bosio, Miss Whiting, Salvi, Marini.

Oct. 7. " Norma."

Mme. Rose de Vries, Bettini.

Oct. 8. " Favorita."

Rose de Vries, Bettini, Beneventano.

( 71 )

Grand jubilee and farewell. Two entire
operas, day and night.

Oct. 13. " La Favorita," and " I Pueitani."

Bosio, Rose de ]''ries, Bettini, Lorini, Badiali,

Marini, Beiieventano, etc.
4 P. M. and § P. M.

Oct. 22. " Crown Diamonds."

Chestnut Street.

3Ime. Anna Thillon, Hudson, Meyer.
First time in English.

The Seguins with Mrs. Baily and Bishop
open with :
Dec. 4. "Amilik"

At the Walnut Street Theatre.
"Fra Diavolo."
"Bohemian Girl," etc.

1852. Feb. 9. " Daughter op the Regiment."
Walnut Street.

Miss Caroline Richings's first appearance in
opera; Seguins, Bishop, Mrs. Johyv^GilberL
" L'Elisiee d'Amore."
" sonnambula."
" Linda."

( 72 )
1852. " Norma."

Oct. 16. Mmes. Thillon and Hudson at the Chestnut.
"Crown Diamonds."
" Black Domino," etc.

May 22. Seguins and Mme. Celeste, Walnut Street.

Sept. 21. Signorina Adelina Patti, "not yet eight
years old, yet styled ' la petite Jenny
Lind,' in a concert at the Musical Fund
Hall."

Sept. 27. Alboni's first concert. Musical Fund Hall.

Oct. 13. Mme. Sontag's first concert. Musical Fund
Hall.
Badiali, Carl Eckert, Paul Julien, Alfred Jaell.

Oct. 27. "Louisa Miller."

First time in America.
Miss Packings, Bishop, and Rohr.

The Havana Italian Opera Troupe was the
greatest company we had heard in Philadelphia,
and it has scarcely since been excelled.

( 73 )

Signorina Angiolina Bosio fiivt appeared in this
city in 1S50. She was then in the maturity of
young womanhood, just twenty years of age. In
April she sang in a concert for the Musical Fund So-
ciety. In the following September, she sang " Lu-
cia " at the National Theatre. Her voice was a pure
and lovely soprano, and her method admirable. I
had never heard her equal at that time, nor have I
heard her superior since. Whether the music was
grave or gay, she always sang it with the proper ex-
pression, and with exquisite delicacy and finish.
Badiali said at that time that on her return to Eu-
rope she would rank as the greatest soprano on the
stage, and his prediction proved to be true. In New
York she was not generally appreciated. A gentle-
man on a visit there told me he was invited to the
opera to hear Steffanone ; Bosio was not even men-
tioned. They sang on the same night. He thought
Steffanone sang very well ; but when he heard Bos-
io he was delighted. She expressed much pleas-
ure at the appreciation shown by her Philadelphia
audiences. Bosio was born in Turin, in 1830; was
educated at Milan, learned singing under Cataneo,
and made her first appearance in opera at the age of
sixteen, July, 1846. In 1848 she went to Havana,
and thence came to this country. She died in Rus-

( 74 )

sia, in 1859. Chorley and other English critics said
she improved in every season, and also became a
very good actress.

Steffanone was a mezzo-soprano of a full voice,
not quite fresh, but of great dramatic power. Some
parts of the opera were sure to be excellent, but
others she seemed to slight, as though she wished to
save herself from fatigue.

Salvi, although on the wane, ■\A'as the most fin-
ished tenor I had heard. He was of the past school,
wlien tenors and bassos studied vocalization and fa-
cility of voice, and were able to sing the music of
Rossini and his immediate successors as it was writ-
ten. His voice, although still pure, had lost some
of its Ijrilliancy, but in inezzo-vocc it was delicious.

Badiali was one of the most satisfactory singers
ever heard in this country. He was a low baritone,
or basso cantabile of the best school, and a good ac-
tor. He was always earnest, and always correct and
effective.

Marini was an excellent bass. He was the
double of Lablache. A'erdi wrote the part of Silva
for him in the opera of " Ernani."

Bettini had a high robust tenor voice and good
method, and was very effective on the stage. Where
Salvi would use the extreme of sostenuto, as in 'Spirito

( 75 )

gentil," Bettini's phrases would be separated ; but his
large style, and the manly simplicity of his concep-
tion of the air and the situation, made it difficult to
decide which of the two tenors to prefer.

Rose de Vries had a strong and clear soprano
voice, and sang well.

Mme. Laborde possessed a very facile soprano
voice and sang in bravura style ; in serious music
she lacked expression.

Mme. Anna Bishop's troupe, Walnut Street
Theatre.

Dec. 6. " Linda."

Followed by :

" LuriA,"
" Martha,"
" LucREZiA," etc.
Assisted by Rosa Jacques, A. Braham, Guidi,
T., Strini, B.

Dec. 29. " Part du Diable," Auber, 1843.

Mme. Thillon, and her company.

1853. Feb. 28. Walnut Street Theatre, Mme. Alboni's first
appearance in opera.

( 76 )

1853. '' La Figlia del Regimento."

Alboni, Rover e, Vietti.

March 1. " Cenbeentola."

Alboni, Revere, Vietti.

March 4. " Sonnambula."

Alboni, Vietti, Barili.

Marcli 5. " Norma."

Alboni, Mms. Seidenburg, Vietti.

March 7. " II Barbiere."

Mme. Marietta Alboni, Sangiovani, Revere,
Barili.

March 28. "La Sonnambula."

National Theatre.

Mme. Henrietta Sontag, Pozzolini, Badiali.
Conductor, Carl Eckert.

March 30. " La Figlia del Regimento."
Sontag, Badiali, Pozzolini.

April 1. '' LucREziA Borgia."

Sontag, Mme. Pico Vietti, Badiali, Pozzolini.

( 77 )

April 4. " Linda di Chamouni."

Sontag, Pico Vietti, Badiali, Eocco, Pozzolini.

April 8. " Don Pasquale."

Sontag, Badiali, Pozzolini, Rocco.

April 6. " II Baebieee."

Sontag, Badiali, Pozzolini, Rocco, Gasparoni.

April 11. " Lucia di Lammermooe."

Sontag, Badiali, Pozzolini, Qasparoni.

April 13. " Maria di Rohan."

Sontag, Pozzolini, Badiali.

Pozzolini introduced "Bella adorata."

Signorina Alboni in voice and perfection of
vocalization was probably never surpassed, if
equalled. She was entirely free from the masculine
quality of the lower register which so frequently
impairs the beauty of the contralto voice. These
notes were of the same delicious and feminine quality
as the other registers. Pier vocalization was simply
perfect. Rossini while at Bologna discovered the
talent of Alboni, then a very young girl, and taught

( 78, )

her very carefully all the great contralto parts of his
operas.

Madame Henrietta Sontag was so well known to
the musical world that it is not necessary to charac-
terize her singing. She was a complete artist. Her
method was admirable, and her execution so perfect
that she was fond of singing the most elaborate
compositions for the violin, such as "Rocle's Varia-
tions," or the "Eondo Valse" by DeBeriot. When
she sang here in concert in 1852, Dr. La Roche told
me that he found her voice much the same as when
he heard it in Europe in 1827. She was born in
Coblentz, 1805, and died in Mexico in 1854.

In my diar)^, April 11th, 1853, is the following
note : " Badiali says smoking improve.s his voice.
Pozzolini also says that since he smokes his voice is
better. Madame Sontag has taken to it, and now
will smoke a whole cigar at a time."

In " Don Pasquale " they dressed in the costume
of the present day, and Mme. Sontag was the very
impersonation of feminine grace.

1854. June 14. " Child op the Regiment."
Chestnut Street.
Mme. de Marguerittes, Strini, and company.

( 79 )

Italian opera at the Chestnut Street

Theatre :
Aug. 29. " LUISA IVriLLER."

Signora Manzini, D'Ormy, Beraldi, T., and

Ch'aziani, Bar.

Aug. 31. " PUEITANI."

Mme. Bertucca, Beraldi, Graziani.

Sept. 1. " LrcEEziA Bokgia."

Bertucca, Graziani, Beraldi.

Sept. 4. " Lucia."

Manzini, Beraldi, Graziani.

Sept. 7. " Masaniello."

Manzini, Beraldi, Graziani.

Sept. 11. " SONNAMBULA."

By the same artists.

Pj'-ne & Harrison Troupe, Walnut Street:
Miss Louisa Pyne,
Miss Pyne,
Mr. Borrani,

( 80 )

1854. Reeves,

Meyer, and W. Harrison.

Oct. 30. "SONNAMBULA."

Followed by:
Nov. 1. "Cinderella."

Nov. 3. "Maeitaxa."

Nov. 8. " Crown Diamonds."

Nov. 14. " Fra Diavolo."

"Guy Maxnerixg."
Nov. 18. " Beggars' Opera," John Qay, 1727.

" A satire on polititions and courtiers, under the
vices of highwaymen, etc." The tunes, sixty-nine
in number, were arranged and scored by Dr.
Pepush, who also composed an overture for it.
Thomas Linley composed the orchestral accompani-
ments to the songs. The songs in the " Beggars'
Opera " were not all written by Gay. " The modes
of the court," was by Lord Chesterfield; "Virgins
are like the fair flower in its lustre " (air by Purcell),
was written by Sir Charles Hanbury Williams ;
"Where you censure the age," by Swift; and
" Gamesters and lawyers are jugglers alike," was
by Mr. Fortescue, Master of the EoUs.

The introduction of Italian opera in England
in the beginning of the last century aroused the

( 81 )

jealousy of the dramatic writers. Addison wrote
an opera, " Rosamond," but it failed ; he possessed
some taste for music, which is shown in his humor-
ous attacks on the opera. Steel was brutal in his
assaults. Mrs. Tafts, the prima donna, became in-
sane, arid in a number of The Taller he gloats over
her misfortune. He openly expressed his chagrin
at the success of Scarlatti's operas. Both he and
Addison admired Nicolini, the sopranist, as an
actor; but with Handel's music or that of any
other master they had no sympathy.

Addison in The Spectator pleasantly says of the
Italian opera in England, and of the translators :
" Their chief care was to make the numbers of the
English verse answer to those of the Italian, that
both might go to the same tune. Thus the famous
song in ' Camilla,' — ' Barbara, si, t'intendo,' etc.
('Barbarous woman, yes, I know your meaning'), —
which expresses the resentment of an angry lover,
was translated into that English lamentation, ' Frail
are lovers' hopes,' etc. ; and it was pleasant enough
to see the most refined persons of the British nation
dying away and languishing to notes that were
filled with a spirit of rage and indignation."

"Hydaspes" was produced under the direction
of Signor Nicolini, who performed the part of the

( ^'i )

hero. "Hydaspes is thrown into an amphitheatre,
to be devoured by a lion. There were many con-
jectures of the treatment the lion was to meet with
from the hands of Signer Xicolini ; some supposed
that he was to subdue him in recitative, as Orpheus
used to serve wild beasts in his time, and afterwards
knock them in the head; some fancied that the
lion Avould not pretend to lay his paws upon the
hero, by reason of the received opinion that a lion
will not hurt a virgin." He goes on in this
pleasant vein. It is worth while to turn to The
Spectator to enjoy his agreeable criticisms, as well as
to be reminded of the taste regarding Italian opera
in England at that time.

Beraldi was a tenor of good taste and feeling,
but his voice was too limited in compass and
strength for much success in opera.

Graziani, baritone, since so celebrated, had a
pure though not strong voice, but an excellent
method. He returned to Europe in 1854, "and
was identified as Count di Luna wherever ' Trova-
tore ' was played, whether in Paris or London."
He sings up to G and even to A. He has been re-
tained in London ever since his first appearance
there.

( 83 )

Louisa Pyne was a finished English vocalist.
She had a good sojjrano voice, not powerful, but
pure in quality and of great facility. She was
thought to resemble Queen Victoria in her personal
appearance.

1855. Qpigi a^jj(j Mario at the ^A^alnut Street

Theatre.
Jan. 2. " PuRiTANi."

Grisi, Mario, Badiali, Susini.

Jan. 5. " LucREZiA Borgia."

Grisi, Lorini (substituted for Mario, who
was ill), Badiali.

Jan. 6. " XoRMA."

Grisi, Mme. Donovani, Lorini.

Mario is far the best tenor I have heard. He
was charming in expression, feeling, and finished
vocalization ; his voice was under perfect control
in all the registers, whether he sang piano or forte,
and his mastery in swelling and diminishing his
voice was perfection.

Madame Grisi when she came to this country
was as a vooalist no longer young. There was a

( 84 )

general disappointment in her voice; it wanted
character, and yet when she was thoroughly excited
she produced an immense effect on her audience.
Her denounciation of Pollione on discovering his
faithlessness, was a wonderful piece of acting and
dramatic vocalization. It would seem impossible
that mere musical scales could be made to express
the intensity and fire which fell from her lips.

»

1855. Feb. The Pyne troupe commence a series of
their operas :

" Crown Diamonds."
" Bohemian Giel."
Feb. 22. " Beggars' Opera."

Feb. 23. " Cinderella."

Ran to March 18th.
June. Miss Rosalie A. Durand, with Lyster and
W. H. Reeves, played a series of Eng-
lish opera at the City Museum, Callow- ■
hill Street.

Sept. 12. " Star of the North."

Walnut Street Theatre.
Mr. Richings as Peter; Miss Caroline Rich-
ings as Catharine; and Mr. A'Becket as
Gritzenko.

( 85 )

1856. Jan. 14. " II Trovatore."

First time, Walnut Street Theatre.
Mme. Anna LaOrange, Mile. Nantier DidiSe,
Sig. Brignoli, and Amodio. Their first
appearance here in opera.
"Trovatore" was first produced in London in
1854, with Mile. Ney, Mme. Viardot, Tamberlik, and
Graziani.

Jan. 16. " Norma."

LaOrange, Miss Hensler, ^g. Salviani.

Feb. 20. " Linda di Chamouni."

Miss Hensler, Mile. Didi&e, Brignoli, Mordli,
Rovere.

Feb. 25. '' LucREZiA Bokgia."

LaOrange, Brignoli, Amodio.

»

Feb. 27. " Lucia di Lammermoor."

LaOrange, Brignoli, Mordli, Amoldi, Gas-
paroni.

Feb. 28. " Don Giovanni."

LaOrange, Hensler, Didiie, MorelU, Salviani,
Rovere.

( 86 )

1856. Lablache as Leporello would sometimes pick

up Masetto (Giubelei, whom we have
often seen), and carry him off under his
arm.

Feb. 29. " La Favorita."

Mile. Nantier DidUe, Brignoli, MoreUi, Gas-
paroni.

March 5. " II Barbiere."

LaOrange, Brignoli, Morelli, Rover e.

March 6. " Semiramide."

LaOrange, Miss Phillips (her first appear-
ance), Arnoldi, Morelli, Qasparoni.

Madame de la Grange as a thorough artist has
had few superiors. Her style, vocalization and
phrasing were admirable. She was equally good in
the music of Rossini, Weber, Bellini, Mozart, Doni-
zetti and Verdi. Her voice was not fresh, nor could
it be called sympathetic. It was her consummate
knowledge and thorough appreciation of music as
an art, that enabled her to triumph over difficulties
and render the true expression of the author. Dur-
ing the present season, she sang a Hungarian mel-

•( 87 )

ody with brilliant variations, composed expressly for
her by Rossini, and also a valse di braw/ra composed
by herself.

Mile. Nantier Didi6e was a very handsome woman,
a low mezzo-soprano, almost a contralto. She had
an agreeable voice and fair execution, and was also
a good actress. She received instruction under Du-
prez at the Conservatoire at Paris.

Brignoli and Amodio made their first appearance
here in opera at this time. Amodio had a rich and
facile baritone voice of great range ; he could sing
up to A with ease. I have heard him sing A flat on
the stage.

Brignoli is still on the stage, and is too well
known to require any description. He is a good
musician and has a good voice, but he is deficient in
feeling and musical expression. He sings smooth
passages very well ; but when passion or tenderness
is to be expressed he is generally disappointing.

Morelli was an excellent baritone with a good
style, and was also a good actor.

Rovere was a buffo, one of the best we had heard;
but it is difficult to be fanny at all times. On one
occasion Lablache said of him: "He is comical as a
hearse."

( 88 )

1857. Feb. 25. Inauguration of the Academy of Music.

An opening address, written by R. T.

Conrad, Mayor of Philadelphia, was

spoken by Miss Caroline Richings.

"Il Teovatore."

Signore Gazzaniga and Aldini, Signori Brig-

noli and Amodio.
Repeated.

Feb. 28. "LucEEziA Borgia."

Gazzaniga, Brignoli, Arnoldi.
Repeated.

March 4. " Lucia."

Signora DePaez, Brignoli, Arnoldi.
The performance of this signora was so
abominable that Maretzek was informed
that she would be hissed off the stage,
should she again appear before the
audience.

March 7. " Norma."

Gazzaniga, Brignoli, Miss Richings.
Repeated.

( 89 )

March 13. " La Traviata."

First time.

Gazzaniga, Brignoli, Amodio.
Repeated four times.

March 20. " I Puritani."

Bertucca, Brignoli, Amodio.

March 21. "Linda."

Oazzaniga, Aldini, Brignoli, Amodio, Arnoldi.

March 27. " II Barbiere.''

Miss Phillips, Brignoli, Amodio, Assoni.

April 2. " LuiSA Miller."

Naples, 1850.
Oazzaniga, Miss Phillips, Brignoli, Amodio.

April 4. " Lucia."

Bertucca, Brignoli, Amodio.
To conclude with a scene from " Col-
umella," by Fioravanti.

April 7. " SONNAMBULA."

Miss Caroline Richings, Brignoli, Ooletti.

( 90 )

1857. April 8. " Eenani."

Gazzaniga, A. Amoldi, T., Amodio, Bar.,
Arnoldi, B.

April 10. Rossini's " Stabat " and miscellaneous
concert.
Oazzaniga, Miss Phillips, Brignoli, Amodio.

April 11. "Traviata."

Gazzaniga, Brignoli, Amodio.

May 20. "Ernani."

Gazzaniga, Gianoni, Amodio.

May 23. "L'Elisire d'Amore."

Gazzaniga, Brignoli, Assoni, Coletti.

May 25. " Masaniello."

Miss Richings, Brignoli, Amodio, Coletti.

June 8. "Der Freischutz."

Mmes. Johannsen, Von Berkel, Herr Pichor

neser.
German troupe.

June 10. "FiDELio."

By the German company.,

( 91 )

Beethoven for one opera, "Fidelio," com-
posed four overtures. Rossini made one
overture serve for three operas; two
were serious, — "Giro in Babilonia," and
"Aureliano;" the third is comic, — "II
Barbiere."
June 12. " Le MAgoN," Auber.

German company.
June 19. ' "Martha.

MTne. Johannsen, Mme. and Herr Pickaneser.

June 20. "The Czak and the Carpenter."

German company.
Oct. 5. "Traviata."

Gazzaniga, Signora Tagliafico, Brignoli,
Amodio.

Oct. 12. "Ernani."

Gazzaniga, Bottardi, Tagliafico, Aynodio.

Oct. 14. "La Figlia del Regimento."
Signora Ramos, Brignoli, Tagliafico.

Oct. 19. "Ernani."

Same cast as on the 12th.
Oct. 21. "Lucia."

Signora Ramos, Brignoli, Amodio,

( 92 )

1858. Jan. 22. "Il Barbiere."

Mme. LaGrange, Gassier, Labocetta, Rocco,
Ardovani.

In the character of Rosina, both Sontag and
Alboni sang "Rode's Variations" in the lesson
scene, when in Philadelphia, as also did Grisi in
Europe. Bosio in London introduced the air in
polka time from Alary's "Tre Nozzi." Many other
vocalists sang "Venzano's Waltz;" some substituted
" II Baccio," by Arditi ; Patti in London sang the
bolero from "V^pres Siciliennes," or Strakosch's
"Waltz," and "Home, sweet home," for an encore.
LaGrange sang the " Hungarian Variations."

Jan. 23. "Semiramide."

Mesdames LaGrange, D'Angri, Gassier, La-
bocetta.

Pasta was the first great performer of the
part of Semiramide, and has probably
never been surpassed. Malibran ap-
peared in Arsace and Semiramide, and
was equally good in both.

Jan. 25. "Rigoletto."

First time here.

( 93 )

LaGrange, UAngrl, Bignardi, Taffanelli,
Rocco.

A clever English writer says : " One night at the
Royal Italian Opera, when Mario was playing the
part of the Duke of Mantua in 'Rigoletto,' and was
singing the duet with Gilda, a man dressed in black
and white, like everyone else, said to me gravely :
'I do not understand Italian. Can you tell me
what he is saying to her ? ' ' He is telling her that
he loves her,' I answered briefly. 'What is he
saying now?' asked this inquisitive amateur two
minutes afterwards. 'He is telling her that he
loves her,' I repeated. ' Why, he said that before ! '
objected this person, who had apparently come to
the Opera with the view of obtaining some valuable
information from the performers. Bosio was the
Gilda; but my neighbor wondered tione the less
that the Duke could not say 'I love you,' in three
words. ' He will say it again,' I answered, ' and
then she will say it; and then they will say it
together ; indeed, they will say nothing else for the
next five minutes, when they will exclaim 'Addio ! '
with one voice, and go on repeating it ; it will still
mean the same thing.'"

( 94 )

1858. Jan.. 27. "Martha."

LaGrange, Pickaneser, Formes.

Formes made his first appearance on the

stage in 1842, at the age of thirty-one

years.

Jan. 28. " Norma."

Mme. Caradori, Mme. Siedenbwg, Bignardi.

Jan. 29. "I Puritani."

Libretto by Count Pepoli.
LaOrange, Tiberini, Gassier, Formes.

Jan. 30. " L'Italiana in Algbri."

D'Angri, Labocetta, Oassier, Rocco, Gairoli.

Feb. 1. "Don Giovanni."

LaOrange, n Angri, Caradori, Gassier, Formes,

Labocetta.
Repeated.

Feb. 5. " Robert le Diable." 1881.

Mme. LaGrange, Bignardi, Formes, Labocetta.

This is Meyerbeer's first opera written in the
"romantic school." His friend and fellow-student,

( 95 )

Weber, may be said to stand at the head of the
school. Beaumarchais in his "Tarare," and Da
Ponte in "Don Giovanni," invented at the same
time the class of opera known as "romantic."
Many others have followed in this school, and
notably the distinguished Richard Wagner.

"Robert le Diable" was produced with Nourrit
as Robert, Levasseur as Bertram, Mile. Dorus as
Alice, Mme. Damoreau as the Princesse Isabelle, Mme.
Taglioni as the Abbess. It is a masterpiece, and is
seldom played to perfection, except at the Acadimie,
Paris.

Feb. 8. " Otello."

Mme. LaGrange, Tiberini, Labocetta, Gassier,
and Formes.

Feb. 9. " II Trovatore."

LaGrange, D'Angri, Bignardi, Taffanelli, and
Gassier as Ferrando.

Feb. 16. " Favorita."

Gazzaniga, Brignoli, Amodio, and Tagliafico.

March 20. " Sonnambula."

Miss May (her dSbut), Brignoli.

( 96 )

1858. March 27. " II Barbiere."

Miss Phillips, Brignoli, Assoni (as Mgaro),
Amodio, Gasparoni.

April 5. " L'Elisire."

LaGrange, Brignoli, Gassier, and Assoni.

April 7. " Lucia."

LaGrange, Brignoli, Gassier.

April 9. " Don Pasquale."

LaGrange, Brignoli, Gassier, Assoni.

April 10. "Norma."

LaGrange, Cairoli, Bottardi, Gasparoni.

April 12. " Maria di Rohan."

LaGrange, Miss Phillips, Bottardi, and Ron-
coni.

The performance was all excellent, but Ronconi's
was a masterpiece of lyrical representation. In the
same year that Donizetti brought out "Don Pas-
quale " at Paris, he produced " Maria di Rohan " at
Vienna. In 1853 Mme. Sontag produced the opera
in this city, with Badiali in the fine baritone part,;

( 97 )

which is so full of feeling. Donizetti wrote sixty-
three operas. In 1845 his mental derangement ap-
peared; he died in 1847.

April 19. " William Tell."

Mmes. LaGrange, CairoU, Bottardi, Ronconi,

Amodio, Gasparoni.
Repeated on the 21st.

The stupidity of the libretto of this opera made
it necessary to cut it down from five acts to three.
It is now always played in the three-act form. The
original cast included Nourrit, Lavasseur, Dabadie,
A. Dupont, Messol, and Mme. Cinti-Damoreau.
Taglioni danced the " Tyrolienne " to the music of
the unaccompanied chorus. A good critic says :
"Since 'William Tell' was produced, the art of
writing dramatic music has not advanced a step."
With scarcely an exception the works of Rossini's
Italian predecessors have been thrown into utter
obscurity by his superior genius.

April 26. The last acts of:

" Teaviata."
" Trovatoee."
"Maria di Rohan."

( 98 )
1858 And the second act of:

" PURITANI."

LaGrange, Gazzaniga, Miss Phillips, Bot-
tardi, Brignoli, Amodio, and Ronconi.

May 1. "Elisiee."

Benefit of Mme. Lagrange, cast as on April
5th.

Gazzaniga had a very sympathetic mezzo-so-
prano voice, — no facility ; but she possessed strong
dramatic feeling. Her declamation was very good
and made her very popular.

Mme. D'Angri was an excellent contralto, both
in voice and method. Her vocalization was ad-
mirable.

Bottardi, tenor; his voice was somewhat harsh,
but his style was large and very effective, and his
recitative was excellent.

Carl Formes, basso ; his voice was worn when
we first heard him at the Academy of Music. In
Marcel, Bertram, Leporello and Plunkett, he was
still very good. He was born in 1810; made his
dibut on the stage at Cologne as Sarastro in the
" Zauberflote " in 1842. His voice was said at that
time to be "magnificent."

( 99 )

Gassier's voice was about the compass of Badi-
ali's; he was of an excellent school and was a
good actor. Those who may remember him in the
character of Ferrando in the "Trovatore," cannot
forget what can be made of the most insignificant
part when sung by a good artist.

Nov. 1. "Traviata."

First appearance of Madame Colson ; Brig-
noli, Amodio.

In 1857 "La Traviata" was produced at the
Royal Italian Opera; — Mr. Gye's, — ^by Mario, Gra-
ziani, and Madame Bosio, "than whose Violetta
none more refined was ever seen on the operatic
stage." All of these artists have been heard in
Philadelphia.

Nov. 3. "Lucia."

First appearance of Mme. Cora de Wil-
horst; Brignoli, Amodio.

Nov. 6. "SONNAMBULA."

Cora de Wilhorst, Brignoli, Amodio.

Nov. 8. "La Figlia del Regimento."
Colson, Labocetta, E. Barili.

( 100 )

Nov. 10. "Teovatoee."

Mile. Parodi, Brignoli, Amalia Strakosch,
Amodio.

Nov. 13. "Norma."

Parodi, Sig. Scola, T.

Nov. 15. "Martha."

Oolson, Mme. Strakosch, Brignoli, Barili.

Nov. 18. "Barbiere."

Teresa Parodi, Labocetta, Amodio.

Nov. 24. "Traviata."

Gazzaniga, BrignoU, Amodio.

Nov. 26. " I PURITANI."

Cora de Wilhorst, Brignoli, Amodio.

Nov. 26. " Don Giovanni."

Gazzaniga, A. Strakosch, Golson, Labocetta,
Amodio, Barili.

1859. Jan. 14. "La Figlia del Eegimento."

Mile Piccolomini (her first appearance),
Tamaro, Formes. Conductor, Sig. Muzio.

( 101 )

Jenny Lind, Sontag and Alboni have all
appeared in this opera with great
success, the last two in Philadelphia.

Jan. 15. " La Nozze di Figaro."

Signorina Piccolomini, Mme. Ghioni, Mme.
Berkel, Signori Florenza, and Formes.
Conductor Anschutz.

We have alreadj^ said that Victor Hugo gained
his action for the infringement of the French dra-
matists' " droits d'auteur," in the case of the Italian
librettist of " Lucrezia Borgia " at the Italian opera
in Paris. It was not long since decided that trans-
lators or arrangers of " Le Nozze di Figaro " for the
Theatre Lyrique must share their receipts with the
heirs of the author of " Le Mariage de Figaro."
It is to be hoped that the heirs have been more suc-
cessful than they were in their claims against the
LTnited States.

Beaumarchais became engaged in a controversy
with our Government which lasted to the end of his
life. Silas Deane, the agent of Congress, was sent to
Paris in 1776 to try and obtain aid on credit from
the French Government, or from private individu-
als. M. de Vergennes, Minister of France, gave him

( 102 )

1859. a formal refusal on account of the pacific relations
then existing between France and England, but di-
rected him to Beaumarchais as a merchant who
might assist him on reasonable terms. With his
usual enthusiasm Beaumarchais entered into ar-
rangements, and sent supplies amounting to several
millions of livres. There appears to have been a
misunderstanding as to what was believed to be a
gift from the French Government and what was
furnished b)^ Beaumarchais at his own cost. The
last letter he addressed to Congress, demanding a
settlement of his claims for the sake of his daughter,
closes thus : " Americans, bestow alms on your friend,
whose accumulated services have received but this
reward. ' Date obolum, Belisario ! ' April 10th, 1795."
He died May 18th, 1799, aged sixty-seven years.
See " Beaumarchais and His Times," by Lom6nie.

Jan. 17. " Traviata."

Signorina Piccolommi, Lorini, Florenza.

Jan. 19. " Lbs Huguenots."

Mile. Poinsot, LaBorde, Tamaro, Formes,

Florenza.
Good chorus and orchestra, three nights.

( 103 )

Jan. 24. " Robert le Diable."

Poinsot, LaBorde, Pickaneser, Lorini, and
Formes.

Jan. -KS. "Don Giovanni."

Mile. Piccolomini, Mile. Poinsot, Mme.
Ghioni, Formes, Florenza, Lorini, Coletti.
An excellent performance.

Among the most celebrated Donna Annas, were
Ronzi de Begnis, Sontag, Grisi, Sophie Cruvelli, and
Titiens ; Zerlinas, Mme. Fodor, Malibran, Persian!,
andi^Bosio. Alboni has sung it, of course, in perfec-
tion, but not often.

Jan. 29. Parts of operas, to conclude with :

" La Serva Padrona," By Pergolesi.
Piccolomini, Johanssen, Magiorotti.

Feb. 10. " Don Pasquale."

Piccolomini, Lorini, Florenza, Magiorotti.

May 6. " Martha."

Mm^. LaBorde, Miss Phillips, Sbriglia,
Formes.'

( 1"^ )

1859. May 7. " Norma."

LaBorde, Berlcel, Stefmii, Former.

May 9. " Favorita."

(inzzaniga, Stefani, Florenza.

May 11. " Robert le Diable."

Gazzaniga, LaBorde, Stefani, and Formes.

June 17. " Traviata."

Piccolomini, Lrjrini.

Some Violettas cough as they sing, and die
coughing, while others exjjire without malving one
distinctive phthisical .sign; this is certainly in far
better taste than to entertain the audience with a
clinical exhibition.

Bosio's Violetta was considered one of her most
remarkable characters, delicate and refined.

Nov. 14. " Trovatore," and

" FiGLIA DEL ReGIMENTO."

Agnes Heron Natal i and Francesca Natali,
Rocco, Maccaferri.

( 105 )

The Miss Herons also gave :
Nov. 19. " Traviata " and " Selections."

Their parents were English. Perelli in-
structed them for the stage, for which
they showed considerable talent.

Dec. 5. " II Poliuto."

Gazzaniga, Brignoli, Amodio.

Donizetti wrote "I Martiri" for Nourrit when
he retired from the French stage, but the libretto
was objected to by the Neapolitan censorship on the
ground that religious subjects were not proper for
the opera. It is since known by the above title.

Dec. 7. " I A^ESPRI SiCILIANI."

First time.

Mme. Colson, Brignoli, Ferri, Junca.

Dec. 8. " Lucia."

SignorinaAdelina Patti, her first appearance ;
8ig. Stigdli, his first appearance ; Ferri.

Dec. 9. " I Vespri."

As on the 7th.

( 106 )

1859. Dec. 12. " Huguenots."

Colson, Gazzaniga, Stigelli, Junca, Amodio.

" Les Huguenots " is Meyerbeer's second grand
opera. It was produced at the Academic Royale,
January, 1836, after twenty-eight full rehearsals,
occasioning a delay which cost the composer a fine
of thirty thousand francs, which was afterwards
remitted. The expense of getting up the " Hugue-
nots " (in scenery, dresses, properties, etc.), amounted
to one hundred and sixty thousand francs. Nourrit
is said to have suggested to Meyerbeer the scene of
the great duet which closes the fourth act, and to
have given valuable hints to Donizetti for " I
Martiri."

Dec. 13. " RiGOLETTO."

Mesdames Colson and Strakosch; Stigelli, and
Ferri.

This was a most enjoyable performance. Ferri,
for whom the part of Rigoletto was written, was
great. He gave style and grace to his buffoonery,
was delicate and tender in his grief, and grand in
his fury. Madame Colson was excellent. I have

( 107 )

rarely heard duets more satisfactory than hers with
the baritone and tenor.

Dec. 14. " SONNAMBULA."

Adelina Patti, JBrignoli, Amodio.

Dec. 15. " Happo," Pacini.

Gazzaniga, A. Strakosch, Brignoli, Ferri.

Dec. 19. " Don Giovanni."

Adelina Patti, Gazzaniga, A. Strakosch, Brig-
noli, Ferri, Siisini.

Dec. 21. " Zauber-Flote."

Colson, Gazzaniga, Mine. Strakosch, Ferri,
Stigelli, Junca.

Dec. 23. " Don Giovanni."

Colson instead of Patti, the other characters
as on 19th.

Ronconi's fame as a singer and actor is too well
known to require any remark. His thorough
knowledge of the voice enabled him to conceal in
a great measure, the ravages which time and labor
had made upon it.

( 108 )

Madame Colson, a charming soprano and good
actress, came to us from New Orleans.

Stigelli, a robust tenor, was a German with a
good Italian method, he was also a good musician.

Junca was a Frenchman, a good bass, and of a
good school.

Mile. Poinsot had an excellent penetrating and
pure soprano voice, good style, and was of much
promise. She unfortunately died young.

Ferri, baritone, was a good artist. A tremolo
marred his singing, but his method was excellent.

1860. Jail- 23. " La Chatte Metamorphosee," Offenbach.
Mile. Darcy and Auge, MM. Dubois and
Oautie7\

Jan. 23. " Giulietta et Romeo."

Miss Wissler as Romeo, her debut. Ex-
cellent voice.

Jan. 26. " La Paeodie de Lucia di Lammeemoor."
" Opera Comique," and

" TOINETTE."

By the same Company.

( 109 )

Feb. 2. " Dkaytox's Parlor Operas."
Concert Hall.

Feb. 16. "SOXNAMBULA."

"Troubadour."
" Freisc'hutz."
" BoHE-MiAX Girl."
" Barber."

"Daughter of the Regiment."
Miss Milnor, Annie Kemp, Bowler, T., Ayns-
ley Cooke.

March 5. " Lucia."

Adelina Patti. As on December 8. Lllman
troupe.

March^G. "Der Freischutz."

Mmes. Colson and Strakosch, Stigelli and
Junca.

March"_9. "I Puritani."

Adelina Patti, Stigelli, Ferri and Susini.

March 9. " II Barbiere."

Patti, Scola, Ferri, Amodio, Susini.
"Patti^iW sing ' Eckert's echo song,' ' Comin'

( no )

I860. thro' the rye,' and the ' Adelina Waltz,' by

Sig. Muzio.
Maurice Strakosch taught Adelina Patti
singing, and wrote those ornaments and
cadenzas which Rossini so aptly described
after hearing her sing in his "Barbiere,"
"EUe a joliment Strakosch6 ma mu-
sique."

March 10. " I A^espri Siciliani."

Colson, StigelU, Ferri, Junca.
All good.

"StigeUi learned his part this week." (My
diary.)

April 2. " :\1artiia."

Patti, Strakosch, Brignoli, Junca.

April 4. "Don Pasquale."

Patti, Brignoli, Ferri, Susini.
Excellent.

The libretto is from Pavesi's "Ser Marcan-
tonio."

Sept. 19. " SONNAMBULA."

Patti, Brignoli, Barili.

( 111 )

Sept. 20. " Trovatore."

Misses Fanny and Agnes Heron (Natali), M--
rani and Barili.

Sept. 21. "Il Barbiere."

Patti as on March 9.

Sept. 22. "LucREziA."

The Herons, Agnes, S., Fanfiy, C, Brignoli.

Sept. 24. "Traviata."

Patti, good ; Errani, feeble.

Sept. 25. " Norma."

Agnes and Fanny Natali, Stigelli.

Sept.^8f " Ernani."

Colson, Sbriglia, Ferri, Susini.

Oct. 10. In honor of Lord Renfrew (the Prince
of Wales), who made the selection.
" Martha."
Patti, Miss Natali, Brignoli and Formes.

"La Traviata."
First Act.
Mme. Colson, Errani.

( 112 )

Nov. 28. "Ernani."

Cast as on September 28.

Nov. 30. " II Baebieee."

Miss Phillips, Sbriglia, Ferri, Siisini.

Dec. 7. " II Giueamento."

Colson, Phillips, Brignoli, Ferri.

Dec. 10. " LucREziA Boegia."

Mrs. Bishop, Phillips, Brignoli, Ferri.

Dec. 14. "MosE in Egitto."

Muzio, Conductor.

Colson, Phillips, Brignoli, Ferri, Susini.
Mr. Constant Guillou made an Optical Rain-
bow for the occasion.

Dec. 29. " Dux Pasquale."

Colson, Brignoli, Ferri, Susini.

1861. April 15. " Teovatoee."

Miss Hinkley, Miss Phillips, Brignoli, Ardo-
vani.

( 113 )

April IG. " La Juive."

Colson, Hinkley, StigeUi, Susini.

April 17. " Linda."

First appearance of
Miss Kellogg; Phillips, Brignoli and Sxisini.

April IS. " Ux Ballo in Maschera."
First time.
Colson, Hinkley, Phillips, Brignoli, Ardovani.

The plot is similar to " Gustav III." The Duke
is assassinated at a masquerade in his own palace.
The Italian censorship condemned the libretto, and
the librettist was compelled to change the Grand
Duke into an English Governor of Boston. So of
Auber's "Gustav III." It was not deemed edifying
to see a king slain by his own subjects in his own
palace. Consequently the murder was cut out en-
tirely.

April 24. " Un Ballo."

Miss Kellogg, Hinkley, Brignoli, Mancusi,

Susini.
" Un Ballo " was produced at Rome, 1859.

( 114 )

Oct. 2.5. " Betly." Donizetti.

First time in America.
Miss Hinkley, Brignoli, Susini.
Followed by :

"Les Noces de Jeannette."
First time in America.
Miss Kellogg, Mile. Eleiia, Mancini, and De-
breuil.
It was given in French. Composed by Masse.

1862. Jan. 18. " II bL^iere."

Hinkley, Brignoli/ Wancusi, Susini.

Jan. 25. " Don Pasquale."

Hinkley, Brignoli, Susini, Mancusi.

Jan. 27. " Traviata."

Miss Kellogg, Brignoli, and Mancusi.

May 15. " II' Barbiere."

D'Angri, Brignoli, Susini, Amodio.

May 17, " Favorita."

D'Angri, Brignoli, Susini, Mancusi.

May 26. "La Figlia del Rbgimento."

( 115 )

Miss Kellogg, Brignoli, Smini; and Gotts-
chalk on the piano.

May 31. "Lucia."

Kellogg, Brignoli, Amodio, Susini. Last act
of " Favorita," Mme de Lussan.

Dec. 17. "Teaviata."

Signora Guerrabella {n&e Ward), Brignoli,
Amodio.

Dec. 18. "LucEEZiA Borgia."

Signora Lorini (nie Whiting), Moi-end, C,
Brignoli, Susini.

Dec. 19. "DiNORAH."

First time.
M'lle Gordier, Morensi, Brignoli, Amodio.
It has been said that " ' Dinorah ' is the
most lunatical opera ever composed.
The lyric drama is full of heroes and
heroines who at some period of the
opera take leave of their senses. But
' Dinorah ' is the only opera in which' all
the characters (except the goat) are more
or less demented from beginning to

( 116 )

end. Corentino is a childish idiot, Hoel
a gloomy and superstitious fanatic,
while the graceful 'Dinorah' is crazy
with craziness which is ideal, no doubt,
but is real all the same."

Dec. 20. " Un Ballo in Maschera."

Guerrahella, Cordier, Morensi, Brignoli,
Amodio.

Few operas require a stronger cast than " II Bal-
lo." It contains five leading parts. That of " Os-
car " is thought to be one of Verdi's most brilliant
partitions, especially in gayety and abandon — char-
acteristics not usual with him.

Dec. 23. "I ^'ESPRI .Sicilian:."

Signora Lorini, Brignoli, Amodio, Susini.

Dec. 24. "Norma."

Signora Lorini, Morensi, Maccaferri, Susini.

Dec. 31. "Traviata."

M'lle Cordier, Maccaferri, Amodio.

( 117 )

1863. Jan. 13. "Martha."

German company.
Mdme. Rotter, Lotti, Ora'Q.

Jan. 14. " Der Freischutz."

Mdme. Johanssen, Rotter, Lotti.

Jan. 16. "Le Ma(;ox."

Mason and Locksmith.
Johanssen, Rotter, Lotti.

Jan. 17. "A Night IN Grenada." Kreutzcr.

Rotter, Lotti, Hartman, Scheele, Graff.
Quite a pretty light" opera.

Jan. 19. " FiDELio."

And three of its four overtures.
Same company.

Jan. 20. "Zauber Flote."

Same company. ,

Jan. 21. "Der Wildschtjtz " (The Poacher).

An odd play. A gun is shot off before the
curtain rises. A game of billiards is
played on the stage, and a large school

( 118 )

1863. of boys sing in the finale of the opera.

Lortzing is the composer.

Jan. 2:!. " Je.vn de Paris." Boieldieu.

Mme. Rotter.

Very pretty music.

Jan. 24. " Daughter of the Regiment."
Afatinee.
Rotter, tSchaumberg and Comjtany.

Jan. 28. " Stradella."- Flotoiv.

First time.
Same company.

March 4. "Il Seraolio."

First time here.
Same company.

March 7. "Joseph." Mehul

German company.
Music simple and beautiful.

March 11. " Le Xuzze ra Figaro."
Same company.

( 119 )

March 14. " Postillion de Lonjumeau."

Rotter, Quint {Sig. Quinto), Graff, Kronfeld.

March 16. " Mekky Wives of Windsor." Nicolai.

A very pretty opera, very melodic, full of
drollery, and has a beautiful accompani-
ment. Libretto by Mosenthal.

The same subject was taken by Balfe for
an opera which he had engaged to write
for her Majesty's Theatre. He called it
" Falstaff," and the work was performed
by Grisi, Persiani, Ivanoff and Lablache,
who impersonated Falstaff. Of course,
with this cast it could not but succeed.
It has never been revived.

March 25. " Fra Diavolo."

Fran Von Berkel, Lotti, Herr Quint as Di-
avolo.

March 30. " Don Giovanni."

Johanssen and troupe.

April 6. " Linda."

Miss Kellogg, Brignoli, Amndio, Susini.

( 120 )

1863. April 8. " Robert le Diable."

Cordier, Signora Lorini, Brignoli, Susini,
Mine. Marzetti as Elen.

April 9. " SONNAMBULA."

Miss Kellogg, Brignoli.

April 10. " La Juive."

Mdme. Lorini, Cordier, Maccaferri, Lotti.

April 11. " Dinorah."

Cordier, Morensi; (she had a beautiful
quality of voice.)

April 13. " Don Giovanni."

Mdme Lorini, Morensi, Cordier, Brignoli,
Susini.

The first " Don Giovanni " who appeared in
London was the celebrated Ambrogetti. Among
others with great success were Nourrit, tenor ; La-
blache in 1832, before he was identified with Lepo-
rello, — Tamburini, baritone ; and Garcia and Mario,
tenors. Among the Zerlinas were Mme. Fodor,
Malibran, Persiani and Bosio. Don Ottavios, were
Rubini and Mario.

( 121 )

Nov. 2. " Maetha."

By the German company.
Followed bj'

"Der Freischutz."
" A Night ix Gkexada."
Habelmaun and Canissa u)id Company.

Nov. 9. "FiDELIO."

Johannsen, IFhnmer, and Oraff.

Nov. 11. "Joseph."

Frederici, Hahelmann and Company.

Nov. 13. " Stradella."

German company.

Nov. 18. " Faust.

First time in America.
Same company.

Nov. 20. "Il Barbiere."

Habelmann and Com^pany.
In German.

Nov. 23. " Die Zauberplote."

German company.

( l--^2 )

1863. Dec. 2. " Ione." Petrella, 1858

First time.
Signora Medori, Mazzoleni, Bellini, Sulzer,

and Biacchi.
Petrella composed " II Mercante di Vene-

zia " after Shakespeare's story.

Dec. 4. " NoEMA."

Mme. Medori, Sulzer, Sig. Mazzoleni, Biacchi.

Dec. 5. "Teaviata."

Signora Ortolani-Brignoli, Mazzoleni, Bellini.

Dec. 7. " LrcREZiA."

3Iedori, Sidzer, MazoUeni, Bellini.
Very goocl.

Dec. 8. "RiGOLETTO."

Miss Kellogg, Sulzer, Bellini, Mazzoleni.

Dec. 9. " Macbeth."

Medori, Lotti, Bellini.

Dec. 11. " Un Ballo."

Medori, Ortolani-Brignoli, Sulzer, Bellini,
Mazzoleni.

( 123 )

Bee. 12. "Martha."

Kellogg, Sulzer, Lotti, Biacchi.

Dec. 14. "Trovatore."

Medori, Sulzer, Mazzoleni, Bellini.
Very good performance.

Dec. 17. " Lucia."

Mme. Brignnli, Mazzoleni, Bellini.

Dec. 18. " Don Giovanni."

Medori, Kellogg, Lotti, Bellini, Biacchi.

Adelina Patti made her first appearance in this
city in opera as Lu^cia, December 8th, 1859. Her
excellent voice, faultless intonation and extraordi-
nary facility, gave promise of a brilliant future
which has been more than fulfilled.

Clara Louise Kellogg first appeared in Phila-
delphia in April 17th, 1861. Her voice is a pure
and vibrating soprano of great facility and perfect
intonation. She lias an excellent method and al-
ways shows an intelligent appreciation of the
music; she has an exeeistionally extensive reper-
toire.

Mazzoleni sang tenor, although his voice was

( 124 )

1863. evidently a baritone — but he became a tenore-
robusto l)y forcing it. He possessed strong dra-
matic feeling and was very effective in some operas,
especially where declamation was essential.

Bellini was an excellent baritone, with a good
voice and a large style ; he was also a good actor.
In the "Africaine " he was admirable.

Madame Parepa Rosa was born in 1836. Her
father A\as a Wallachian, her mother Avas Miss
Elizabeth, sister of Edward Seguin, the eminent
basso. .She had a clear and penetrating soprano
voice of two and a half octaves, and a good method,
and sang with much intelligence.

Sig. Pancani sang here in a few opei'as. He «as
a tenor of a good school, though somewhat passS
when Ave heard him.

Lefranc, a tenor of excellent metliod and a fine
actor. He was liable to an unfortunate break in
the upper register of liis voice. Were it not for that
defect, he would have held a very high position as
an artist.

AVachtel, with many fine qualities of voice, -was
very defective in its management, and frequently
sang out of tune.

Miss Carey has an excellent contralto voice, full,

( l--^5 )

rich and eveu, and a good itiethod. In "Aida " she
is grand.

Signora RIedori ■\vas a rich mezzo-soprano — very
dramatic in style and always satisfactory.

1864. Feb. 8. " The Merry Wives of Windsor,"

By Nicolai.
" II Templario " is by the same author.
German troupe.

Feb. 10. "La Dame Blanche," Boieldien.

Produced at the Op6ra Comique, Paris,
1825, and playc<l at the same theatre for
the one thousandth time on December
16th, 18()2. German company, consist-
ing of JoJianssen, Frederici, Canissa, Habel-
mann, Steiiiccke and Hartman.

Feb. 12. " Tan.\ii.\user."

First time. By the same company.

Fel). 15., " .Jessoxda." Spohr.

First time.

Ver}' melodic and good accompaniment.
German troupe.

( 12(] )

j\Iay 9. "Notre-Dame op Pakis," By W. H. Fry.

Was produced for the benefit of the Sani-
tary Fair. It was -written in nineteen
days, and was placed on the stage in the
most liberal manner at Mr. Fry's ex-
pense. Ninety in the orchestra, and
hundreds on the stage.

Mtn.e. JBorchard, Mme. Kempton, C, Messrs.
Castle, Campbell and Seguin. Conductor,
Theodore Thomas.

I saw this opera but once, but was struck
with the beauty of tlie orchestration.
The vocalists were, generally, very in-
ferior.

It was jierformed seven times.

Nov. 8. " ROBEKT LE DiABLE.

il/me. JoJianssen and Rotter ; Habelmaiin.

Nov. 9. " Faist."

Frcrlerici, Dziuba, Tamaro, Hermanns.

Nov. 11. " La Juive."

Same troupe.

( 127 )

Nov. 16. " Huguenots."

Jolianssen, Rotter, Tamaro.

Nov. 17. " MiREiLLE," Gounod.

First time.

The first and second acts only, were given.
German company.

1865. Feb. 20. " Martha.

Rotter, Dzluba, Himmer, Steinecke.
"Martha" was followed by their usual
repertoire :
" Faust."
" Robert."

" La Dame Blanche."
"Stradella," etc.
To March 4th.

The singers of the German troupe when com-
pared with the Italian Companies appear to disad-
vantage for want of good musical training. In
comic operas they were often quite successful, being
usually good actors.

Mme. Johanssen had the best method, but her
voice was on the wane. Frederici's voice was fresher,
and as Margaret in "Faust" she was quite popular.

( 128 )

The German Compauies have given us many operas
which we had never before heard.

March 24. " La Forza del Destixo."
First time.
Signora Zucchi, Morensi, Lotti, Massamiliani,

and Bellini.
I was not much impressed with it.

March 25. " Fra Diavolo."

Misses Kellogg and Morensi, Sig. Bellini,
Lotti.

X little doggie took part and capered around
with as much glee and spirit as the other per-
formers. Dragonetti, the contra-bassist, played at
the Italian opera in London. His dog Carlo always
lay at his feet during the performance. One night
while Grisi was singing and Royalty was present,
poor Carlo fell to dreaming, and made some uncouth
noises just as Grisi was making her grand point in
the opera. The prima donna in a towering passion
walked to the footlights and reprimanded poor
Dragonetti, who burst into tears over Carlo's dis-
graceful conduct. Carlo was deprived of his free
pass, and Dragonetti, who was then ninety }'ears

( 129 )

old, had to perform his evening task for the few re-
maining years 6f his life without his dear com-
panion.

April 8. " Ernani."

Zucchi, Maccaferri; Bellini, Svsini.
Very good.

April 29. " La Figlia del Regimento."
Miss Richings and her company.

1866. Jan. 1. "Faust."

Hiss Kellogg, Antonucci, Irfre, Bellini.

Jan. 2. "L'Africaine."

First time.

Zucchi, Mme. Bosisio, Bellini, Mazzoleni, An-
tonucci.

A strong cast, fine opera, well performed ;
orchestration beautiful.

Meyerbeer received the libretto of "The Afri-
caine" from Scribe in 1838. He became deeply in-
terested in it, and in casting and recasting the work,
it occupied him at intervals during the rest of his
life. His excessive anxiety extended to the libretto^

( 130 )

1866 and he had it modified over and over again, to the
great annoyance of Scribe. In October, 1863, he re-
turned to Paris, still working on the " Africaine,"
which was now in rehearsal. On April 23d he was
taken ill and died on the 2d of May. The opera,
"the most mtisical of his works," was produced at
the Acad6mie, April 28, 1865.

The last scene, where Selika dies beneath the
Upas-tree, is exceedingly tender and beautiful. Her
despair as she gazes on the sea, " vast and illimitable
as her grief," on which her lover is about to sail
from her forever, is admirably expressed by the
music. There is a beautiful melody played by vio-
loncellos, violas and bassoons in unison, as an accom-
paniment, which I have never heard equalled in
any other opera.

Meyerbeer must have been morbidly sensitive.
Dr- Veron, director of the Academic at the time of
the first production of "Robert," says the scenery of
the third act was so magnificent that Meyerbeer felt
positively hurt, and said to the doctor, " You don't
think very highly of my music, or you would not
pay so much attention to the mise en scene." To one
of the other acts, the composer, thinking the scenery
rather poor, said, the manager doubtless thought it
was all the music merited. The history of the " Afri-

( 131 )

caine," which was in hand twenty-five years, and
which he did not live to see performed, is an addi-
tional evidence of his sensitiveness.

Jan. 3. "Il Poliuto."

("I Martiei.")
Signora Zucchi, Massamiliani, Ardovani.
Zucchi was very good.

Nourrit was the first Tenor at the Acad^mie
Royale de Mu.sit^ue, where he had been singing with
a zeal and ardor equal to his genius for the last six-
teen years, when the management engaged Duprez
to divide the principal parts with the vocalist al-
ready in office. " One of the i\yo must succeed at
the expense of the other," he declared; and he was
not at all sure that the unfortunate one might not
be himself. "Duprez knows me," he said, "and
comes to sing where I am. I do not know him and
naturall}' fear his approach." After thinking over
it for a few days, he resolved to leave the theatre.
He took his farewell of the French public, April 1st,
1837. Nourritt was a well educated and highly ac-
complished man, and besides being an excellent
musician, possessed considerable literary talent. He
wrote the libretto founded on Corneille's "Poly-

( 132 )

1866. eucte," adapted to exhibit his double talent as an
actor and singer, and in the hands of Donizetti it
became "I Martiri;" but just when it Avas about
to be produced, the Neapolitan censorship forbade
its production on the ground of the unfitness of re-
ligious subjects for stage representation.

The history of his .suicide at Naples is well
known, and what is very remarkable, his brother
who tavight singing in Philadelphia for many years,
returned to Paris and drowned himself in the
Seine.

•Jan. 4. " Fka Diavulo."

Misses Kellogg, and Phillips, Mazzoleni, and
AntoniKci. Mazzoleui is unsuited to this
kind of music, and is deficient in smooth
cantabile, such as the part requires.

Jan. 5. " Erxaxi." ,

Zucchi, Irfre, Bellini, Antonucci.

Jan. 8. "Martha."

Kellogg, Phillips, Irfre, Antonucci.

Jan. 9. "Teovatore."

( 133 )

Zucchi, Bine di Rossi, C, good voice, Bel-
lini, Mazzoleni.

Jan. 10. " La Dame Blanche."

German troupe.

Jan. 11. " I PuRiTANi."

Miss Kellogg, Irfre, Bellini, Antonucci.
The libretto of " Puritani " is very ,weak ;
the point on which the plot turns is so
obscure that many people fail to under-
stand it. It recalls what Dr. Johnson
said of Clarissa Harlowe, that if any one
tried to read it for the sake of the story,
he would cut his throat before he had
got through a dozen pages.

Jan. 12. "LucREziA."

Zucchi, Phillips, Irfre, Antonucci.
Zucchi was very good. Bergman, Con-
ductor.

Jan. 13. " Lucia."

Bosisio, Mazzoleni, Bellini.

( 134 )

1866. Feb. 26. " Faust."

German troupe.

Feb. 27. "Fra Diavolo."

Mmes. Rotter, Johanssen, Habelmann, Her-
manns.

Feb. 28. "Die Zaubeeflote."

Satne company.

March 1. "Martha."

Same company.

March 5. " William Tell."

Mme Naddie, Dziuba, Himmer, Habelmann,
Hermanns.

March 9. " Huguenots."

Mmes. Naddie, Rotter, Himmer, Hermanns.

Sept. 17. " Maritana."

E.ichings' troupe.
Castle, Campbell and Company.

Sep. 19. " Doctor op Alcantara." Eichberg.
Richings' troupe.

( 135 )

Seguin was verj^ droll as the Doctor. A
clever operetta, full of humor. Music
light and appropriate. Their usual
series of operas follow.

Oct. 15. " Crisping b la Comaee." Ricci.

First time.
Miss Kellogg, Ronconi, Testa, T., Bellini,

Antonucci.
The trio by Miss Kellogg, Ronconi and

Antonucci, was irresistibly comic. Tor-

riani. Conductor.

Oct. 16. "Trovatore."

Signora Poch, mezzo-soprano ; NatoM Testa,
Mazzoleni, Antonucci.

Oct. 17. "Fea Diavolo."

Miss Kellogg, Natali Testa and Ronconi.

Oct. 18. " SONNAMBULA."

Miss Minnie Hauk, Baragli.

Oct. 22. " L'Etoile du Nord."

First time.

( 136 )

1866. Misses Kellogg and Haulc, Baragli, Bellini,

Antonucci.
The laughing and crying duo ^vas well
sung.

Oct. 23. "LUCEEZIA."

Signora Poch, Mazzoleni, Antonucci.

Oct. 25. " L'Elisirb."

Ronconi and his daughter, her debut, An-
tonucci. Her voice is too weak for
opera. Ronconi, admirable.

Oct. 29. " Faust."

Kellogg, Mazzoleni, Bellini, Antonucci..

Miss Kellogg performed her part beauti-
fully.
In 1864 Gounod's " Faust " was produced at the
Royal Italian Opera, London (Gye's) with Lucca,
Didi^e, Mario and Graziani. The part of Margaret
was a few weeks afterwards taken alternately by
Imcca and Patti. All these artists have appeared
in Philadelphia.

Oct. 31. " Huguenots."

Poch, Mazzoleni, Bellini, Antonucci. Natali

( 137 .)

Testa as Urbain. Alboni sung this part in
Europe.

Nov. 9. "Midsummer's Night Dream."

3Ime. Naddie, M. Anthelme. A French

company.
Among the characters are William Shake-
speare, Falstaff and Queen Elizabeth. The
music is quite agreeable.

Dec. 7. " Z.iMPA," and " Le Maitre de Chapelle."
M'lles. Naddie and Laurentis ; Armand as
Zampa.

Dec. 8. " Les Diamaxts de la couronne."

Naddie, Armand, Laurestan, Anthelme.

1867. Feb. 4. " Martha."

Richings' troupe.

Feb. 7. " Don Pasquale."

Richings' troupe.

Feb. 11. " The Rose op Castile." Balfe.

Feb. 15. " The Enchantress."

( 138 )

1867. Several nights.

Richings' troupe.

"Bohemian Girl."
Richings' troupe.

March 1. " La Fiancee." Auber.

Richings' troupe.

Libretti.
The French drama is a mine of wealth to libret-
tists for the opera. Even Metastasio often poached
on the French authors, as in " Clemenza di Tito "
from the "Cinna " of Corneille and his " Gioas "
from " Athalie " of Racine. Dr. Hueffer says the
eminent libretti have nearly all been taken from
the French. Even Balfe's " Bohemian Girl " is
translated from the French of M. de St. Georges,
called " La Boh&nienne," " The Enchantress " by
Balfe, composed for Mdme. Thillon was due to the
same author. He awards well deserved praise to
Romani, but Romani's two most famous works,
" Sonnambula " and " Norma " are both from the
French. "La Gazza Ladra," "Fidelio" and "Fa-
vorita " are all derived from French plays. Scribe's
"Le Philtre" and "Sonnambule" are the originals

( 139 )

of " Elisire d'Amore " and " Sonnambula." " Rigo-
letto " is founded on " Le Roi S'Amuse." " Lucre-
zia " on " Lucrfice Borgia," " Ernani," on Victor
Hugo's " Hernani."

Romani is the best of the Italian librettists of this
century. " II Pirata," " Sonnambula," " Norma" and
" Capuletti ed i Montecchi," are all excellent.
French librettists frequently worked in partnership,
as in the " Favorite " by Scribe and Royer ; and
" Hamlet " by M.M. Barbier, and Carr6. Balfe's
" Satanella," " Rose of Castile," " Maid of Honor,"
" Bondsman " and Wallace's " Maritana " are all
founded on French pieces.

Aprils. "Teovatoee."

First appearance of Madame Parepa, Mme.
Strahosch, Brignoli, Sig. Fortuna.

April 9. "Norma."

Parepa, Strakosch, Limberti, T., Susini.

April 10. " II Baebiere."

Parepa, Brignoli, Ferranti, Susini.

April 11. "Don Giovanni."

( 140 )

1867. Parepa, Fortuna as the Don, Brignoli, Su-

sini.

April 12. " Lucia."

Parepa, good in the crazy scene ; Brignoli.

April 29. Richings' troupe open. Xothing new.

May 24. "Meery Wives of Windsor."
Chestnut Street Theatre.
German troupe.

May 30. "Masaniello."

Rotter, Himmer and Company.

June 3. " Fra Diavolo ; " in English.

Habelmann broke his arm in the last
scene, falling from the rocks.

Oct. 28. Richings' troupe open with :
"The Bohemian Girl."
" Cinderella."

Nov. 20. "Lily of Killarny." Benedict.

First time.

( 141 )

Elaborate instrumentation, some pretty
melodies.

Benedict was born in Germany, studied in Italy,
arrived in London, 1838. Came to this country
with Jenny Lind.

Nov. 29. " Faust."

First time in English.

Miss Richings' Benefit. She sang it much
better than I expected. It is said that
Miss Richings was married yesterday,
and that Mr. Bernardo is the fortunate
bridegroom.

Dec. 16. " Trovatore."

Mme. LaGrange, Miss Phillips, Brignoli, Ran-
dolphi.

Dec. 17. " Norma."

LaGrange, Miss McOulloch, Massamiliani,
Susini.

Signora Zucchi, a mezzo-soprano, with a good
voice and good method. She is very dramatic and
effective in opera. The greatest dramatic vocalists

( 142 )

have most frequently been mezzo-sopranos, from
Malibran to the present day.

Antonucci was a good basso, intelligent and sat-
isfactory.

Signora Poch sang at the Academy of Music in
1866. She was a mezzo-soprano, very dramatic, and
a good artist.

Miss Minnie Hauk made her first appearance
here in 1866. She has much talent and gives
promise of making a good singer.

Dec. 18. " Favorita."

J/ts-s PhilKps, Brignoli, and Orlandini.

The latter has a good idea of singing, but his
voice lacks volume. Brignoli was greeted with a
hiss for keeping the audience waiting a long time.
We afterwards learned that he had lost his "tights,"
and was apparently too modest to ask the forbear-
ance of the audience on that ground.

Dec. 19. " Don Giovanxi."

LaGrange, McCulloch, Phillips {Zerlina), Brig-
noli, Orlandini, Susini.

Performance was quite fair, except the
chorus, which was wretched.

( 143 )

Dec. 20. " Ernani."

LaQrange, Massamiliani, Susini, Orlandini.

Dec. 21. " Martha."

Mme. LaQrange, Miss Phillips, Brignoli, Or-
landini.
Brignoli took his B b- but very sotto-voce.

1868. Jan. 6. " Trovatore."

Parepa, N. Testa, Pancani, Bellini.
Pancani's upper notes are good and ef-
fective ; style is large, and he sings with
feeling.

Jan. 7. "Don Giovanni."

Mme. Parepa, Miss Ronconi, Miss Hauk,
Baragli, Bellini, and Ronconi.

Jan. 8. " Favorita."

Gazzaniga, Baragli, and Bellini.

" II Barbiere."
Parepa, Baragli, Antonucci, Ronconi.
A good performance — Ronconi, admirable.

It seems almost incredible that Rossini's "Barber

( 144 )

1868. of Seville," which has been the delight of the musical
world for more than two-thirds of a century, should
have been hissed, hooted at, and shouted down at
its first representation. And this, too, at Rome!'
Different accounts have been published, but the
most trustworth)' is said to be that of Mme. Giorgi
Righetti, the Rosina of the evening, and for whom
the part was composed. I transcribe the account as
given by Edwards in his life of Rossini.

Garcia, the celebrated Tenor, \vas the Almaviva.
The Figaro was Luigi Zamboni, wlio, after distin-
guishing himself on all the operatic stages in Europe,
became, like Garcia, a singing master, and taught
other Figaros, besides Almavivas and Rosinas, how to
sing Rossini's music.

The original Don Basilio was Vitarelli ; Bartolo,
Botticelli.

The Overture was executed in the midst of a gen-
eral murmuring, "such," remarks Zanolini, "as is
heard on the approach of a procession." The ap-
pearance of Garcia did not change the disposition of
the public.

"The composer," says Madame Giorgi Righetti,
was weak enough to allow Garcia to sing beneath
Rosina's balcony a Spanish melody of his own ar-
rangement. Garcia maintained, that, as the scene

( 145 )

was in Spain, the Spanish melody would give the
drama an appropriate local color; but unfortunately
the artist who reasoned so well, and who was such
an excellent singer, forgot to tune his guitar before
apj)earing on the stage as Almaviva. He began the
operation in the presence of the public; a string
broke ; the vocalist proceeded to replace it, but be-
fore he could do so, laughter and hisses were heard
from all parts of the house. The Spanish air, when
Garcia was at last ready to sing it, did not please
the Italian audience, and the pit listened to it just
enough to be able to give an ironical imitation of it
afterwards.

The audience could not hiss the introduction of
Figaro's air: but when Zamboni entered, with an-
other guitar in his hand, a loud laugh was set up,
and not a phrase of "Largo al fattotum" was heard.
M''hen Rosina made her appearance in the balcony
the public were quite prepared to applaud Mme.
Giorgi Righetti in an air which they thought they
had a right to expect from her; but only hearing
her utter a phrase which led to nothing, the expres-
sions of disapprobation recommenced. The duet be-
tween Almaviva and Figaro was accompanied through-
out with hissing and shouting. The fate of the work
seemed now decided. At length Rosina reappeared.

> ( 146 )

1868. and sang the Cavatina which had so long been de-
sired; for Madame Giorgi Righetti was young, had
a fresh, beautiful voice, and was a great favorite with
the Roman public. Three long rounds of applause
followed the conclusion of her air, and gave some
hope that the opera might be saved. Rossini, who
was at the orchestral piano, bowed to the public,
then turned to the singer, and whispered, "0,
natura."

The entry of Don Basilio, now so effective, was
worse than a failure the first night. ^'^itorelli's
make-up was admirable; but a small trap had been
left open on the stage, at which he stumbled and
fell. The singer bruised his face terribly, and began
his admirably dramatic air with his handke:fchief
to his nose. This itself must have sufficed to spoil
the effect of the music.

The letter-duet miscarried partly, through the
introduction of some unnecessary incidents after-
wards omitted ; but the audience were resolved to
ridicule the work, and as often happens in such
cases, various things occurred to favor their pre-de-
termination.

At the beginning of the magnificent finale a cat
appeared on the stage, and with the usual effect.
Figaro drove it one way, Bartolo another, and in

( 1-17 )

avoiding Basilio it encountered the skirt of Rosina
— behaved, in short, as a cat will be sure to behave
mixed up in the actions of a grand operatic finale.
The public were only too glad to have an opportu-
nity of amusing themselves apart from the comedy;
and the opening of the finale was not listened to at
all.

The noise went on increasing until the curtain
fell. Then Rossini turned to the public, shrugged
his shoulders, and began to applaud. The audience
were deeply offended by this openly-expressed con-
tempt for their opinion, but they made no reply at
the time. The vengeance was reserved for the second
act, of which not a note passed the orchestra. The
hubbub was so great, that nothing like it was ever
heard in any theatre. Rossini in the meanwhile
remained perfectly calm, and afterwards went home
as composed as if the work, received in so insulting
a manner, had been the production of some other
musician. After changing their clothes, Madame
Giorgi Righetti, Garcia, Zamboni and Botticelli
went to his house to console him in his misfortune.
They found him fast asleep.

The next day he wrote the delightful Cavatina
" Ecco ridente il Cielo," to replace Garcia's unfortu-
nate Spanish air. The melody was borrowed from

( HS )

1868. the opening chorus of "Aurehano in Palmira,"
written by Rossini in 1814, for Milan, and produced
without success. Garcia read the Cavatina, and sang
it the same evening.

At the second performance the Romans seemed

disposed to listen to the work of which they had

really heard nothing the night before. This was all

. that was needed to insure the opera's triumphant

success.

Jan. 10. "Carnival of Venice." Petrella.

First time.

Misses Hauk and Ronconi, Mme. Testa, Ber-
agli, Bellini, Ronconi, Baccelli.
The plot is comic, full of bustle, — music gay, —
accompaniments rather noisy. Ronconi excellent.

Jan. 11. " Crisping."

Matinee.

Miss Hauk, Sig. Ronconi, Bacelli and Anton-
ucci.
Evening. " Stabat Mater" and miscellaneous
concert.

Jan. 13. "Romeo and Juliet." Gounod.

First time.

( 149 )
Miss Hauk, Pancani, Bellini, Antonucci.

" Romeo and Juliet " has, during the present
century, been set to music by no less than five com-
posers: among the Italians, by Zingarelli, Bellini
and Vaccai; among the French, by Gounod, and
the Marquis d'lvry.

Gounod's " Romeo and Juliet " was played for
the first time in London in 1867, with Mario and
Patti as the two lovers.

Jan. 14. " LucREZiA."

Oazzdniga, Testa, Baragli, Antonucci.

Jan. 15. "Linda."

Miss Hauk, Naiali Testa, Baragli, Antonucci
and Ronconi. One of his great serious
parts.

Jan. 16. " Traviata."

Gazzaniga, Pancani, Bellini.

Jan. 17. " Tkovatore."

Madame Kapp Young, Baragli, Bellini.

Jan. 18. " Faust."

( 150 )

1868. Miss Hauk, Habelmann, Hermanns.

Sung in German.

Feb. 11. " The Geande Duchesse."
First time here.

M'Ue TosUe, Guffroi, LeDuc, Lagriffoul, Du-
chesne. Written for the Exposition of
Paris, 1867. It was played ten nights iby
Bateman's Opera Bouffe.

Tost4e had more genius for " Bouffe," than any
of her successors. In voice and personal appear-
ance, she showed the effect of time and iwear, but
she was full of fun and had a certain comical
audacity that was very droll. She sang quite well,
and it was said that she had studied at the Con-
servatoire at Paris. Le Due, Lagriffoul and Du-
chesne were excellent actors.

March 2. " Teaviata."

La Grange, Brignoli, Orlandini.
Strakosch's season.

March 3. " Rigoletto."

LaGrange, Miss Phillips, Massamiliani, Or-
landini.

( 151 )

March 4. "Roberto il Diavolo."

LaGrange, McOulloch, Brignoli, Lorini, Her-
Tnanns (in German), Rita Sangalli as
Elena.

" Robert " was written for the Op6ra Comique at
the Ventadour Theatre. The company of the
ThS^tre de I'OpSra Comique was not found to be
competent to execute the difficult music, and the
libretto by MM. Scribe and Delavigne, was altered,
so as to suit the " Acad^mie." It was cut down and
the dialogue was adapted for recitative. The
character of " Raimbaud " was cut out in the fourth
and fifth acts. It may be well to refer to the French
classification of opera.

The "Op6ra Comique" is a French opera in
which the denouement is happy and the dialogue
spoken. Provided these two conditions be present,
it is not necessary that the piece should introduce
any comic scenes or characters.

The French " Grand Op§ra " is sung throughout
with accompaniment of the full orchestra, to the
entire exclusion of spoken dialogue. One of the
finest examples is " Guillaume Tell." The French
version of "Sonnambula" in which most of the
Recitative is omitted, is entitled " Op6ra Comique."

( 152 )

1868. March 5. " Un Ballo in Maschbra."

LaOrange, McOulloch, Phillips, Brignoli,] Or-
landini.

March 17. " Norma."

Mmes. Parepa, Testa, Pancani, Antonucd.

March 18. " Fra Diavolo.

Parepa, Testa, Habelmann, Ronconi.

March 20. " Ernani."

Mrs. Agatha States, Pancani, Bellini, An-

tonucci.
Mrs. States has a strong soprano voice, no

low notes, and is deficient in method.

April 20. "Martha."

Richings' troupe. Followed by the usual
series of performances.

May 12. " Grand Duchesse."

Tostie and Company.
Three nights.

May 14. " La Belle Helene."

First time.

( 153 )
Same company. Five nights.

Nov. 9. " Baebe-Bleue.".

First time.

Mile. Irma, M. Aujac, T., good.

Irma's voice is full and agreeable in quality.
The passage from the throat is too ap-
parent.

Nov. 30. " Trovatore."

Mrs. States, Cellini, Brignoli, Orlandini.

Dec. 1. " Fidelio."

Rotter, Cellini, Hahelmann, Hermanns.

Dec. 2. " I A^ESPRI SiCILIANI."

Mrs. States, Brignoli, Antonucci, Orlandini.

Dec. 3. " Roberto il Diavolo." {Polyglot)

LaOrange, (Italian and German), Brignoli,
(Italian). Miss McCulloch, (Italian), Her-
manns and Habelmann, (Germ.an).

Dec. 4. "Teaviata."

Mme. LaOrange, (admirable), Boetti, Orlan-
dini.

( 154 )

Dec. 10. " Un Ballo."

States, McOulloch, Cellini, Boetti, Orlandini.

Dec. 12. "Dee Freischutz."

LaGrange, Rotter, Habelmann, Formes.

1869. March 1. " La Perichole."

First time.
Irma, Aujac, Leduc.

March 2. " Orphee aux Expers."

Tostie, Deere, Duchesne, (Jupiter as a fly.)

March 3. " Barbe-Bleue.

Irma, Aujac, Lagriffoul.

March 5. " Les Bavards," and

"Chanson de Fortunio."
Irma, Leduc and Company.

March 6. "Monsieur Choufleuri."
Tostie, Leduc and Company.

March 31. " Belisario."

Mrs. States, McOulloch, Boetti, Orlandini.
A feeble performance.

( 155 )

April 2. " Le Prophete."

First time.

LaCfrange, Boetti, Antonucci, Formes.
Mise en sc6ne, very good. LaGrange was
excellent. Antonucci also.

" Le Prophete," Meyerbeer's third grand opera,
was produced at the Academic, April 16th, 1849,
with Roger, Viardot, Garcia and Castellan, in the
principal characters. It was played here three
times, and at every performance I liked it more.
The orchestral accompaniments are charming.

April 14. " Genevieve de Brabant."

Mile. Rose Bell, Desclaitzas, Carnier and

Company.
The women act very well.

April 16. " L'CEiL Creve," By Hervk

Rose Bell, Desdauzas, Deligne.
Some very pretty choruses and airs.

"Fleur de The," Lecocq.

Acted with great spirit.
Same company.

April 19. " La Vie Parisienne."

( 156 )

1869. Very well performed. Carrier displayed

much comic ability. Appears to be a
faithful picture of some phases of Pa-
risian life.

April 23. " Gkande Duchesse."

Not equal to the Tost6e troupe.

May 6. " Crisping."

Richings' troupe.

May 21. " Teaviata."

Benefit of Mme. Eichings-Bernard. Sang
better than I ever before heard her.

June 3. " II Bakbieee."

Miss Kellogg, Boetti, Reyna, Sitsini, Barili.

I remember to have seen in my early opera ex-
perience, a scene in the " Barber," where two
servants appear, one sneezes and the other yawns.
This was interpolated from Paisiello's " Barber."
Rossini's libretto does not include this scene, which
appears in the " Comedy of Beaumarchais."

Sept. 6. The Richings New Troupe. It includes

( 157 )

Henry Drayton, baritone, of this city, who studied
at the Conservatoire, Paris. He is quite clever, but
his voice has not sufficient strength for much suc-
cess in opera.

Parepa Rosa's Grand English Opera Company.

Oct. 4. " Makitana."

Par&pa, Seguins, Castle, Laurence, Bar.,
Campbell. Conductor, Carl Rosa.

Oct 5. " SONNAMBULA."

Rose Hers6e, voice weak, but she has feel-
ing and taste.

Oct. 6. " The Puritan's Daughter," Balfe.

Quite well performed, strong in the minor
parts.

Oct. 7. " Bohemian Girl."

Rose Hersie.

Oct. 13. " Le Domino Noir."

Hersie, Seguins, Castle, Lawrence.
Quite agreeable.

( 158 )

Nov. 15. " Freischutz."

Grau's German Company. They gave

Nov. 20. "Faust."

Mme. Frederici, Himmer, Weinlich.

Nov. 23. " La Juive."

Frederici, Himmer and two horses; the
brown, was obstreperous — two men held
him lest he should interfere with the or-
chestra. This company also performed
" Zauberflote,"
" Stradella," etc.

1870. Jan. 3. " II Trovatore."

Madame Briol, M. Lefranc, Reyna. Madame
Briol has strong dramatic feeling; her
voice wants resonance and she sings with
effort. Lefranc has a large style, his re-
citative is excellent and he sings with
ardor. His Cin alt aroused the audience
to enthusiasm. He is also an actor of
intelligence and dignity.

Jan. 5. " Crisping."

Mm,e. Lami, Ronconi, Reyna.

( 159, )

" William Tell."
Canissa, Lami, Lefranc, Reyna, Coletti.
Lefranc was great and sang his role with-
out transposition. He sang the trio with
much passion and the solo in the last act
was admirable.
" Guillaume Tell " is Rossini's last opera.
" To surpass that admirable work would have
been difficult for its own composer, impossible for
any one else ; and Rossini appears to have resolved
to terminate his artistic career when it had reached
its climax."

Jan. 6. "LucREZiA."

Mme. Briol, Lotti, Mme. Lumley, Ronconi.

Jan. 7. " Un Ballo.''

Briol, Lami, Lefranc, Reyna.

Jan. 11. "PoLiUTO." (IMartiri.)

Miss Kellogg, Lefranc, Reyna.
Excellent performance.

Jan. 12. " Norma."

Briol, Canissa, Massamiliani.

( 160 )

1870. Jan. 13. "Pipele."

Kellogg, Ronconi, Reyna, Lami, Massamil-

iani, and Barili.
Ensemble and orchestra good.

Jan. 15. " Linda."

Matinee.
Kellogg, Ronconi, Lotti.

Jan. 17. " Masaniello."

Canissa, Lefranc and Reyna.

The duo between Masaniello and Pietro,

(Reyna), was grand. Lefranc' s acting was

worthy of his singing.
Parepa Rosa's troupe. Rose Hersie, the

Seguins, Campbell, Nordblom, Laurence,

Hall.

Feb. 14. " Faust."

" Teovatore."
"Marriage of Figaro."
" Freischutz."
" Martha."
" Oberon."

March 21. "Lxjcia."

( 161 )

Strakosch troupe.

Miss McCkilloch, BrignoU.

March 22. "Trovatore."

Gazzaniga as the gypsy, Brignoli.
" Barbiere."
"Don Pasquale."

May 2. "Magic Flute."

Miss CarloUa Patti.

June 6. " Postillion."

Richings' companv.

" Huguenots."
" Traviata."

" LURLINE."
Nov. 16. " DiNORAH."

First time in English.
Richings' troupe.

Nov. 19. " Oberon."

Richings' troupe.

Nov. 21. " Rip Van Winkle." By Bristow.

Drayton as Rip.

( 162 )

Acted and sang well.
Richings' troupe.

1871. Jan. 9. "Fidelio."

Mme. Lichtmay, Carl Bernard, Formes,
Vierling.

Jan. 13. " Tannhauser."

Lichtmay, Haffner, Formes, Franosch.

Jan. 14. " Martha."

Mmes. Lichtmay and Perl, Formes.

Feb. 6. Richings' troupe give four nights and one
matinge.

March 3. " La Juive."

Lichtmay, Perl, Formes.

March 6. " William Tell."

Same vocalists.

Oct. 23. Parepa-Rosa Grand English Opera.

"FiGLIA DEL ReGIMENTO."

Parepa Rosa, Tom Karl.

( 163 )

Oct. 26. "LucKBZiA."

Parepa, Z. Seguin, Karl, Cook

Oct. 28. " Satanella." Balfe.

First time.
Mme. Vanzini, Miss Schofield, Castle, Seguin,

Campbell and Co.
Music commonplace.

Balfe was a much better musician than he has
been generally credited with in America. He was in-
troduced to Rossini in 1828, in Paris, and sang the
part of "Figaro " under his direction on the condi-
tion that he should take a course of lessons in sing-
ing from Bordogni. He wrote nearly 30 operas.
The "Maid of Artois" he composed for Malibran.
He wrote " Falstaff," which was sung by Grisi,
Persiani, Ivanoff and Lablache — a grand quartet.

Dec. 29. " Teovatoee."

I/ichtmay, WacJitel, Vierling.

Dec. 30. "Postillion."

Waehtel and Company.

( 164 )

1872. Jan. 2. "Huguenots."

Lichtmay, Wachtel, Hermanns, Vierling,
Franosch.

Feb. 19. " Un Ballo in Mascheka."
In English.
Mmes. Parepa-Rosa, Van Zant and Company.

Feb. 20. " Zampa."

Charles Santley, Clara Doria, (daughter of
Barnett, the composer,) Jennie Van Zant,
Mrs. Seguin.

Feb. 22. " Fra Diavolo."

Santley and above company.

Feb. 28. " Faust."

Mrs. Van Zant, (nie Blitz).

March 20. " Les deux Journees." 1800.

("Der Wassertrager,") Cherubini.
("The Water Carrier,")
Parepa's company. Lovely opera.

April 15. " Lucia."

( 165 )

Mile. Nilsson, her first appearance ; Barre,
Brignoli. •

April 17. " Faust."

Nilsson, Gary, Capoul, Barre, Jamet.

April 18. " MiGNON.

First time.

Mile. Nilsson, Capoul, Jamet, Canissa. Mile.
Feretti, as Federico.

April 19. " Fka Diavolo."

Canissa, Cary, Capoul.

April 20. " Tkovatore."

Nilsson, Miss Gary, Barre, Brignoli.
Performance good, except the chorus and
orchestra.

"Hamlet," Ambroise Thomas.
First time.

Miss Nilsson, Cary, Brignoli, Barre, Jamet.
Nilsson played it beautifully and Barre
sang well.

Shakespeakian Operas.
" Julius Csesar " and " Hamlet " were turned into

( 166 )

1872. Ij'rical di'amas more than a century and a half ago.
" Giulio Csesare " and " Ambleto " were performed
at the King's Theatre under Handel's management.
The part of the world's conqueror was given to the
sopranist, Sig. Mcolini. Eossini set " Otello " to a
libretto by the Marquis Berio, an amateur poet.
"La Tempesta" was composed by Hal6vy. Jenny
Lind sang in it and Lablache played Caliban.
" Romeo and Juliet " has been set to music by five
different composers during the present century.
" Macbeth " by Ch&lard was produced at the Aca-
d6mie, Paris, in 1827. Verdi's " Macbeth " has been
performed in the Academy of Music in this city. I
saw it in New York in 1850 with Badiali in the title
role. "Mercante di Venezia" is by Petrella. A
French opera, called " Midsummer Night's Dream,"
was performed in our Academy of Music. " The
Merry Wives of Windsor," is by Nicolai ; "Hamlet"
by Ambroise Thomas, "Falstaff" by Balfe. It was
said more than twenty years ago, that Verdi had
completed his opera of " Lear " — and he is said to
be at work in connection with Boito, upon a new
opera on the .subject of "Othello." It will be called
"lago."

( 167 )

Rewards op Musical Authors.

In Italy Rossini received from twenty to one
hundred pounds for writing an opera. He received
nothing for the right of engraving his works. " In
France alone if ' II Barbiere ' had been originally
brought out there, Rossini's profits must have
amounted to one million francs ; as it was, it never
brought him a farthing beyond eighty pounds sterl-
ing." — Edward's Life of Rossini.

"Alexander II. gives Verdi an honorarium of
eighty thousand rubles for the opera he is now.
writing for St. Petersburg; the work, of course,
remains Sig. Verdi's property. 1862."

Rossini went to Paris in 1824. There was much
jealousy in regard to him among some musicians.
But Boieldieu, Herold and Auber were his fervent
admirers. He was appointed director of the Italian
Theatre with a salary of twenty thousand francs.
Auber says he had a beautiful baritone voice, and
his accompaniments on the piano were marvelous
— more like an orchestra than the piano. He
brought out Meyerbeer's music, and induced him
to come to Paris. He also brought Bellini, Doni-
zetti and Mercadante to France. His kindness to
Bellini was tender and lovely. He also befriended
Balfe and gave him his Figaro to sing in Paris.

( 168 )

1872. Mr. Ebers in his " Seven Years of the King's
Theatre" gives a good insight into the opera in
England at that time, 1821 to 1827. The outgoing
manager like all his predecessors, had failed. Mr.
Ebers undertook to re-open it in» 1821. During his
first "successful season" he lost seven thousand
pounds, and the proprietor, by way of encourage-
ment, raised his rent from three thousand one hun-
dred and eighty to ten thousand pounds. His
smallest loss in any one year was three thousand
pounds. In England, theatres do not receive sub-
ventions from the government; but in support of
opera, enterprising persons have always been found
willing to lose from time to time a little fortune.

In 1814, Rubini was engaged at Pavia as tenor,
at thirty-six shillings a month. Sixteen years after-
wards, Rubini and wife were offered an engagement
for six thousand pounds, and at last the services of
Rubini alone were retained at the Italian Opera of
St. Petersburg at the rate of twenty thousand
pounds a year.

May 6. "La Perichole."

Aim6e troupe.

"Grande Duchesse."

( 1G9 )

May 8. "Les Brigands."

First time here.

" Baebe-Bleue."

Nov. 13. "Genevieve de Brabant."
Aim6e, Juteau, Gabel.

Nov. 14. "Le Petit Faust," HervS.

Aimie, Bonelli, Juteau.

Mme. Aim6e, in personal appearance and
voice is more fresh than Tost4e — she is
graceful and exceedingly comic, though
not so original as her predecessor.

Dec. 16. " Faust."

Signora Lucca, Santz, Vizzani, Jamet.

Dec. 17. "Trovatore."

Kellogg, Santz, Abrugnedo, T., Morimni, Bar.

Dec. 18. "Huguenots."

Pauline Lucca, Levielli, Sparapani, Jamet.
Lucca and Jamet very good.

Dec. 20. "Fra Diavolo."

Lucca, Santz, Ronconi, Vizzani.

( 170 )

Dec. 23. " LucREziA."

Mme. Levielli, Santz, Abrugnedo, T.

1873. March 26. "Favorita."

Lucca, Vizzani, T., Sparapani.

Lucca sang with much force and feeling.

March 28. "Mignon."

Lucca, Kellogg, Santz, Vizzani, Jamet.

A strong cast and excellent performance.

A newspaper at Pesth says Pauline Lucca could
not endure Wagner's music. His admirers said she
could not sing it. In three days she mastered the
part of Elsa and sang it with immense success. Af-
ter the performance she stipulated never to sing it
again.

April 21. " Genevieve."

Aimie, Bonelli, Jouteau, Duchesne.
" Barbb Bleue."
" duchesse."
"Orphee aux Enfers."
Mile. Roland and the above performers.

April 25. " Les Cent Vierges."

( 171 )

AiTnie, Bondli, Roland, Jouteau, Lecuyer, etc.
First time.

Sept. 29. " La Fille de Madame Angot." Lecocq.
" Peeichole," etc.
Aimie troupe.

Oct. 6. " Faust."

In English.

Kellogg troupe. Van Zant, Seguins, Mor-
gan, T., Maas, T., Carleton, Peakes, Hahel-
mann.

Oct. 18. " Lucia."

Matinfie.

Miss Kellogg closes her season to-day, af-
ter performing her usual selections of
opera.

When Madame Bosio was singing here about
thirty years ago, she visited Dr. Kirkbride's hospital
for the insane in order that she might represent the
crazy Donnas with some degree of truthfulness. My
friend who accompanied her said she was struck
with the quiet demeanor of the patients, and conse-
quently in " Lucia " she is not insanely flighty. It

( 172 )

1873. was much the same with Sontag, LaGrange, Patti,
Nilsson and Gerster. Mme. Biscaccianti, on the
contrary, looked terribly wild, with hair streaming
like the tail of a comet, Di Murska looked impulsive
and ready to fight, in fact dangerously crazy.

Nov. 10. " SONNAMBULA."

lima di Murska, Vizzani, Miss Ferretti, Rossi-
Galli.

Nov. 11. " Teovatoee."

Di Murska, Tamberlik, N. Testa, Mari, B.,
Rossi- Gain.

Dec. 8. " Traviata."

Strakosch troupe.

Ostava Torriani, Capoul, Sig. Boy, Del
Puente.

Dec. 9. " LucREZiA."

Mile. Maresi, Miss Cary, Campanini, Nan-

' netti.
Maresi has a good deal of execution, but no
force ; the others are very good. Cam-
panini excellent — large style. Quite a
satisfactory performance.

( 173 )

Dec. 10. " Ernani."

Mme. Torriani, Campanini, Maurel, Nanneti.
Admirable.

Dec. 11. "Faust."

Maresi, Gary, Capoul, Mav/rel, Nannetti.

Dec. 12. " AiDA."

Torriani, Carey, Campanini, Maurel, Nan-
netti.
All good. Muzio, Conductor.

"Aida" was composed for the Khedive of Egypt,
Ismail I., and brought out at Cairo in 1872. The
subject is said to have been suggested by the Khe-
dive himself. " Aida " has often been described as
an opera composed by Verdi in the style of Wagner.
" But it contains too much tune for the sake of tune
to resemble a Wagnerian opera. Poets who spurn
imagery, composers who despise melody, do so, no
doubt, in both cases because what they contemn does
not readily occur to them, and is, in fact, beyond
their reach."

The Khedive Ismail I. abdicated in 1879, and
was succeeded by his son Tewfik, the present Khe-
dive.

( 174 )

1873. Dec. 13 & 15. "Aida."

Repeated, aad it improves on one at each
repetition.

Dec. 16. " MiGNOx."

Mile. Nilsson, Torriani, Gary, Capoul, Nan-

netti.
Of course with such artists it was very

well performed, but somehow it seemed a

little tame.

Mr. Edward Fry, formerly of this city, but who
for many years past has resided in New York, is an
invalid and confined to his chamber. It occurred
to him to have his residence connected with the
Academy of Music by telephone. On the first night
of the experiment, he put the receiver to his ear
with many misgivings, and his delight was un-
bounded when he found that he could hear the
operatic performance almost as well as any one in
the audience bodily present. Mr. Mapleson said:
" Mr. Fry sent here yesterday in great excitement to
know if the report that I was about to cut the wires
was true. I assured his representative that nothing
was further from my intention, and as we were
giving 'Aida' that night, I sent him a libretto with

( 175 )

my compliments. He sent back his thanks, saying
that he would not trouble me for an opera glass.
On opera nights he sits propped up in bed, the tele-
phone at his ear, the libretto in his hand, and the
photographs of the chief singers of the evening ar-
ranged in a semi-circle around him and within
reach. When anything pleases him he joins in the
applause. When Gerster outdoes herself, he pats
her picture approvingly, and whenever any one
sings a false note — which no one in my Company
ever does — he stands her on her head until she
reforms."

Mr. Fry is probably the first person who has
brought the grand opera to his chamber by means
of the telephone.

The Frys of Philadelphia were a remarkable
family. The two elder brothers were able and ac-
complished writers, and they all possessed a fine
taste for music. William Fry, beside his operas,
composed many pieces for the voice ; among others,
was a "Stabat Mater." He also- wrote symphonies
for JuUien's Band, which were much admired.
Charles, a younger brother, who died soon after
reaching manhood, had a beautiful baritone voice,
and a falsetto pure as a soprano. I remember that
on a certain occasion he sang a Swiss air in the

( 176 )

falsetto, while two of his brothers sang an accom-
paniment. At the close of the air, he descended in
a cadenza to his natural voice. On the same oc-
casion six of us sang the " Moss Troopers' Chorus."
Joseph, Edward and Charles took part. It was
composed by William Fry, who drilled us at the
piano. He afterwards introduced it in "Notre-
Dame of Paris." As before . mentioned, Joseph Fry
wrote the librettos of his brother's operas, and trans-
lated those of " Norma " and " Anna Bolena."

Edward Fry became the impresario of an opera
company in New York, and as we have just seen,
he still enjoys .the opera although confined to his
chamber.

1874. Feb. 2. "Bohemian Girl."

Miss Kellogg, the Seguins, Maas and Carleton.

Feb. 3. "RiGOLETTO."

Mrs. Van Zant, Mrs. Segmn, Maas and Hall.

Feb. 4. "Marriage of Figaro."

Miss Kellogg, Van Zant, Seguins, Carleton.

Feb. 5. " Martha."

Same company.

( 177 )

Feb. 6. "Fra Diavolo."

Miss Kellogg, Mr. and Mrs. Seguin, Habel.
mann.

Feb. 7. " Faust."

Mrs. Van Zant, Habelmann, Carleton, Peakes.

April 6. " La Fille de Madame Angot."

Aimie, Stani, Juteau, Duchesne, Lecuyer.

April 7. "Petit Faust."

Same company.

April 8. "Les Cent Vierges."

Aimie, Mile. Roland, and Company. .

April 9, "La Vie Parisiennb."

April 10. "La Belle Helene."

April 11. "L'CEilCreve."
Company as above.

The newspapers recently announced the death^of
Tost6e, at Pan, caused, it is said, by grief for thejloss

( 178 )

1874. of her daughter. It was Mme. Tost^e who first in-
troduced to us the " Grande Duchesse."

April 13. " La Teaviata."

Mile. Nilsson, Capoul, DelPuente.

April 14. " Faust."

Nilsson, Gary, Capoul, DelPuente, Nannetti.

April 15. "AiDA."

Torriani, Gary, Gampanini, DelPuente, Nan-
netti, Scolara.

April 16. "Lohengrin."

First time.
> Mile. Nilsson, Gary, Gampanini, DelPuente,
Nannetti.
Orchestra largely increased, mise en scAne
superb, choruses and instrumentation
very fine. Immense house.
"Aida" and "Lohengrin" were repeated.

April 18. " Ernani."

Third Act.

Torriani, Gapoul, DelPuente, and all the
artists appeared in a concert.

( 179 )

April 22. "The Bride of Messina,"

By J. H. Bonawitz.

Performed for the first time by Miles. La-

mara, Canissa, Herr Kronenberg, B., and

Remmertz, T.

The composition appears to have merit,

but the performers were feeble.

May 3. " Ostralenka."

By the same author.
These operas had more merit musically

than as dramas. They were deficient in

stage action.

May 4. The Kellogg troupe commence their usual
series of opera, and conclude with

May 9. " Don Giovanni."

Miss Kellogg, Mrs. Van Zant, Miss McOulloch,
and Company.

Nov. 30. " Sonnambula."

Miss Albani, (her first appearance), Benfra-

telli T., Fiorini.
She has a clear and pure soprano, flexible

( 180 )

1874. and elastic; a good method and shows

dramatic ability.

Dec. 1. "Ernani."

Mile. Maresi, Carpi, DelPuente.

Dec. 2. " Lucia."

Emma Alhani, Carpi, DelPuente, Scolara.

Albani was excellent, especially in her duo
with Edgardo and her crazy scene. She
gives promise of becoming a distin-
guished artist.

■ Donizetti designed and wrote the words as well
as the music of the last act of " Lucia."

All the greatest singers of the modern school
who have appeared since, and including Pasta, have
gained their reputations chiefly in Bellini's and
Donizetti's operas. It is true they formed their
style in Rossini's music. " Anna Bolena," " Norma,"
and "Amina" were written for Pasta. "El vino"
for Rubini ; " Edgardo " for Duprez ; " Puritani " for
the grand quartette, Grisi, Rubini, Tamburini and
Lablache.

Dec. 3. " Faust."

( 181 )

Marie Heilbron, Miss Gary, DeBassini, T.,
Tagliapietra, Bar., Fiorini.

Dec. 4. "ElGOLETTO."

Mile. Albani, Gary, Carpi, DelPuent'e, Scolara.

Albani and DelPuente were excellent; she
showed much dramatic ability. It was
altogether a very good performance.

Dec. 5. "La Teaviata."

Mile. Heilbron, Benfratelli, Tagliapietra.
Heilbron had a good conception of the
character and of the music, and sang it
well. She has a remarkably pretty neck
and bust.

"Violetta is a great favorite with debutantes.
The opportunity given by the part for the display
of elaborate toilettes is no dotibt one reason. Then
all the interest is centred in the heroine. She be-
gins and ends the first act, ends the second, and has
the whole of the third act to herself."

Before entering on the year 1875, it may be well
to recall the performances of some of the greatest
singers of the first half of the present century, who
have never visited this country. Like all complete

( 182 )

1874. artists — like Malibran, Ronconi and Garrick — La-
blache and Tamburini were equally happy in seri-
ous and in comic parts. "As Orveso in 'Norma,'
nothing could be more tragic and impressive than
Lablache in the scene with the repentant, dying
priestess in the last act." His Hmry VIII., in
" Anna Bolena," was a wonderful picture — his Le-
porello and Don Pasquale were models of comic act-
ing. Tamburini possessed the same faculty of
adapting himself to the part, whether tragic or
comic.

In 1822 Tamburini was engaged at Palermo,
where, on the last day of the carnival, the public
attended the opera, with drums, trumpets, sauce-
pans, shovels, and all kinds of noisy instruments.
On this tumultuous evening, Tamburini, already a
great favorite, had to sing in "Elisa e Claudio,"
which was performed in this city, January 23d,
1833, by the Montresor troupe. The public received
him with a salvo of their carnavalesque artillery,
when Tamburini, finding it impossible to make him-
self heard in the ordinary way, determined to exe-
cute his part in falsetto, and commenced singing
with the voice of a soprano sfogato. The astonished
audience laid their instruments aside to listen to
the novel and unexpected accents of their basso can-

. ( 183 )

tante. His falsetto was of wonderful purity, and in
using it lie displayed the same agility for which he
was remarkable in his ordinary voice. The audi-
ence were interested and pleased. But the poor
prima donna could not see the joke; she imagined
the demonstrations which she received whenever she
appeared were intended to insult her, and refused to
continue her part. The manager was in great
alarm, for he knew the public would not stand upon
ceremony that evening, and if the performance was
interrupted by anything but their own noise, they
would probably break everything in the theatre.
Tamburini rushed to the prima donna's room. Mad-
ame Lipparini had left the theatre, but she had left
the costume of Elisa behind. The ingenious bari-
tone threw off his coat, contrived by stretching
and splitting to get on Elisa's satin dress, clapped
her bonnet over his own wig, and thus equipped
appeared on the stage, to take the part of the un-
happy and now fugitive Lipparini. The audience
applauded the entry of the strangest Elisa ever seen.
Her dress came only half way down her legs, the
sleeves not anywhere near her wrists. The soprano
of a moment's notice had the largest feet and hands
a prima donna was ever known to possess.

The band played the ritornella of Elisa's Cava-

( 184 )■ .

tina a dozen times, and the most turbulent of the
audience were about to jump on the stage, when
Tamburini rushed on in the costume above de-
scribed. After courtesying to the audience, press-
ing one hand on his heart, and with the other wip-
ing away the tears of gratitude he was supposed to
shed, he commenced the Cavatina, and went through
it admirably ; burlesquing it a little for the sake
of the costume, but singing it, nevertheless, with
marvelous expression, and displajang executive
power far superior to any that Mme. Lipparini
could have shown. As long as there were only
Arias to sing, Tamburini got on easily enough. He
devoted his soprano voice to Elisa, while the Cownt
remained still a basso in his ordinary voice. But a
duet for Elisa and the Count was approaching and
the excited amateurs, now oblivious of drums,
kettles and kettle-drums, were speculating with
anxious interest as to how Tamburini would
manage to be soprano and basso-cantante in the
same piece. The vocalist found no difficulty. He
performed both parts — bass replying to the soprano,
and the soprano to the bass — with the most perfect
precision. He even made a point of passing from
right to left, and from left to right, according as he
was the father-in-law or the daughter. This was

( 185 )

the crowning success. The opera was listened to
with pleasure and delight to the very end. He was
called upwards of a dozen times on to the stage.
This was not all ; they were so grieved at the idea
of losing him, that they entreated him to appear
again in the ballet. He did so and gained fresh
applause by his performance in the pas de quatre
with the Taglionis and Mile. Rinaldini. — Edwards.
" Signor Tamburini was one of the handsomest
men ever seen on the stage." — H. F. Charley, 1862.

1875.- Jan. 6. " Chilperic.'' .

Chestnut Street Theatre.
Soldene troupe. (English.)

" Pkincess of Trebizonde."
Soldene troupe. (English.)

"The Arch-Duchess."
Soldene troupe. (English.)

Jan. 11. " Tkovatore."

Miss Kellogg and her troupe.

Jan. 12. " Maritana."

Mrs. Van Zant, Miss Beaumont, Castle, Carle-
ton.

( 186 )
1875. Jan. 13. "Martha."

Jan. 14. " Eknani."

Jan. 15. " MiGNON."

iFirst time in English.
Kellogg, Van Zant, Beaumont, Castle, Peakes.

" Faust."

"Marriage op Figaro."

March 26. " Girople-Girofla," Lecocq.

Mme. Geoffroi, Mile. Mindle, M. DeQuercy.
Walnut Street Theatre.

April 12. " MiGNON."

Miss Kellogg, and her company.

"The Talisman," Balfe.

First time.
Miss Kellogg and troupe — and a live camel.

April 21. " RisTORi in Tragedy."

She and her excellent company performed
one week.

April 26. " GiROFLE-GlROFLA."

In German.

( 187 )
Lina Mayr and her company.

May 4. " La Joli Parpumeuse."

Arch Street Theatre.
Aim^e and her troupe.

" Perichole."

"Mdme. Angot."

Oct. 4. " Girople-Girofla."

English company.
Julia Mathews, Macdermott, Forrester.

Oct. 5. " BOULOTTE."

Miss Mathews' company.

Oct. 8. " Grand Duchesse."

Oct. 9. " Les Pres Gervais." Lecocq.

Same company.

Oct. 17. " Grand Duchesse."

Mexican Juvenile company.
Quite clever for such little folks.

In no other country are singers so thoroughly
instructed for the operatic stage as at the Con-

( 188 )

servatoire de Musique in Paris. They have 16
classes for solfeggio, eight singing classes; a class
for vocal harmony, and another for part writing.
There is a class for lyrical declamation, one class
for opera and two classes for opera comique. Besides
over 30 instrumental classes, they have six for har-
mony and three for composition, counterpoint and
fugue. To these must be added, classes for the
general history of music, grammar, prosody, etc.,
three classes for dramatic declamation, one for stage
deportment, and one for fencing. The influence
of this school pervades all the varieties of musical
exhibitions in France. Even the Opera BoufFe
owes much of its brilliancy and grace to this
influence.

It does not follow, however, that all the pop-
ulation of France, or even of Paris, are perfect
musicians. Berlioz says a young lady buying a
piece of music at Brandus's, was asked whether
the fact of its being ' in four flats ' would be any
obstacle to her playing it. She replied that it made
no difference how many flats were marked, as be-
yond two, she always scratched them out with a
penknife.

Nov. 22. " MiGNON." ;

( 189 )

Miss Kellogg's troupe. Van Zant, Beau-
mont, Castle, etc.

Nov. 23. " Huguenots."

Miss Van Zant, Montague, Mrs. Seguin,
Castle, Conly.

1876. Jan. 3. "Postillion of Lonjumeau."
Uerr- Wachtel, Mme. Wagner.
In German-
Jan. 5. "Teovatore."

Mme. Wagner, Bcchnan, C, Wachtel.

Jan. 7. "La Dame Blanche."

Mile. Pappenheim, Kuster, Wachtel.

•Jan. 8. "Martha."

Pappenheim, Beckman, Wachtel, Fassbender.

Jan. 12. " Huguenots."

Pappenheim, Wachtel and Company.

Jan. 14. "Trovatore."

Pappenheim, Wachtel and Company.

( 190 )

1876. Jan. 15. "Fidelio."

Pappenheim, Milder, T., W. Formes.
M'lle. Pappenheim sung with much dramatic
feeling and intelligence.

March 20. "Norma."

Madame Jitiens, Beaumont, Karl, Reyna.
Titiens has a large style, declamation ex-
cellent.

Mar. 22. " Favorita."

Titiens, Tom Karl, Tagliapietra, Reyna.
Madame Titiens, excellent, although her
voice occasionally gave way.

Mar. 24. " Trovatore."

Mdme. Titiens, Beaumont, Tagliapietra and
Brignoli, who transposed his serenade
one tone.

Mar. 25. " Traviata."

Pappenheim, Brignoli, Tagliapietra.
Poppen/ieim appeared frightened, and not
quite at home in Italian.

( 191 )

Mar. 27. "Luceezia."

Titiens, Brignoli and Orlandini.

Mar. 29. "Don Giovanni."

Titiens, Beaumont, Carrena-Sauret, Brignoli,

Tagliapietra, Orona {Leporello.)
Titiens was very good. She. sang the letter
solo, usually omitted.

Mar. 31. "Norma."

Cast as on the 20th.

Cats are not desirable performers on the operatic
stage, especially in tragedy; and yet they appear
ambitious to take a part now and then. The first
authentic instance recorded in history was, I believe,
at the production of " II Barbiere" at Rome, in 1816.
I witnessed a feline d6but when the Havana troupe
first came to this city in 1847. During the perform-
ance of "Norma" a cat suddenly appeared on the
stage — stood, and stared at the footlights, fiddlers,
audience and actors, with feet spread out, and ready
to bounce in any direction; the tragic ''Norma,"
overwhelmed with grief, I regret to say — burst into
a merry laugh. Pussy vanished as suddenly as she

( 192 )

1876. apjDeared. The " Norma " was Signorina Tedesco, at
the "Walnut Street Theatre.

April 1. " Faust."

Pappenheim, Crona as Mephistopheles.

April 19. " L'Etoile du Nord."

Paris, 1854.
Miss Kellogg, Montague, Seguin, Castle,

Conly, Peakes.
First time in English.

April 20. "Star of the North."

Mme. Van Zant, Maas, Carleton. The

others as above.
Mme. Rosewald alternates with Miss Mon-
tague.

April 27. "Ernani."

Van Zant, Castle, Carleton, Conly.

May 6. " Star of the North."

Kellogg and Company.
The Empress of Brazil was present.

( 193 )

Sept. 11. " Norma."

3fme. Palmier i, Persiani, M. Palmieri, Conly.

It has been, and is still the habit of certain Eng-
lish critics to under-rate Bellini, Donizetti and
IMercadante. I remember to have seen an im-
portant work, which besides the printed music,
contained criticisms. It was there stated that the
above composers " would not be known after half a
dozen years have passed." This was published
soon after "La Sonnambula" was first produced.
Even George Hogarth, in his " Memoirs of the
Musical Drama," (London, 1838,) says: "'Elisa e
Glaudio ' of Mercadante, ' Norma ' of Bellini, ' Brazen
Horse ' of Auber, and ' Zampa ' of Herold, were total
failures. On the other hand, Barnett's elegant
opera of the 'Mountain Sylph' ran one hundred
nights." In his " Musical History, Biography and
Criticism," he says : " Their airs are strings of com-
monplace passages borrowed chiefly from Rossini,
and employed without regard to the sentiment and
expression required by the scene. Their concerted
pieces are clumsy and inartificial; and their loud
and boisterous accompaniments show a total ignor-
ance of orchestral composition. This general de-
scription applies to them all. Pacini, Mercadante,

( 194 )

1876. Bellini and Donizetti are all alike, and have not
a single distinctive feature." He accords great
merit to Balfe, Barnett and Rooke. Hogarth was a
brother-in-law to Charles Dickens. He was a good
writer, was familiar with music and well versed in
musical history. His prejudice blinded him to the
merits of the modern Italian school. "Sonnam-
bula " has been a favorite opera with all the most
distinguished singers of the musical world, from
the time it was first produced on the stage to the
present day. "For pure melody and emotional
music of the most simple and touching kind, it has
never been surpassed." It is difficult to perceive
the clumsiness in the finale of 'Puritani,' 'Vieni al
tempio,' or in the trio in ' Lucrezia,' or in the sestetto
of ' Lucia,' or in the lovel}^ and graceful quartet in
'DonPasquale.'"

Sept. 12. " Trovatoee."

Mme. Palmieri, Miss Henne, Brignoli,
• Preusser.
■ Admission, $1. Reserved, 50 cents extra.

Sept. 13. " II Baebibee."

Mme. Anna di Belocca, Brignoli, Gottschalk.
Belocca, the Russian, is called a contralto ;

( 195 )

except her upper notes, which are rather
thin, she might be called a mezzo-
soprano; her voice is fresh, but not
sufficiently schooled.

Sept. 14. "LUCKEZIA BOEGIA."

Mme. Palmieri, Henne, BrignoK, Conly.
Quite a fair performance.

Sept. 16. " Favoeita."

Belocca, Brignoli, Gottschalk, Baccelli.
Belocca sang but moderately well. She is
very pretty.

Sept. 19. "Semikamide."

First time in 18 years.
Mme. Palmieri, Belocca, M. Palmieri.

Since the first production of " Semiramide," all
of the most distinguished sopranos and contraltos
have loved to appear in that admirable wo,rk. The
part of "Semiramide," beside Pasta, Grisi, Viardot-
Garcia and Cruvelli, was sung by Sontag at Paris,
1829, and by Mme. Bosio at St. Petersburg, in 1855.
Among the Arsaces were Pisaroni, Brambilla and
Alboni. Malibran appeared in both Arsace and

( 196 )

1876. Semiramide, and was equally good in both char-
acters.

Madame Pisaroni was one of the most celebrated
contraltos known in musical history. She made
her d6but in Italy, in 1811. She at first came out
as a soprano, but two years afterwards, a severe
illness having changed the nature of her voice, she
appeared in all the most celebrated parts, written
for the musicos or sopranists, who were now be-
ginning to die out, and to be replaced by ladies
with contralto voices. She was hideously ugly.
Lord Mount Edgcumb tells us, that another favorite
contralto of the day, Mariani, (Rossini's original
Arsace) was Pisaroni's rival " in voice, singing and
ugliness;" adding, that "in the first two qualities
she was certainly her inferior ; though in the last
it was difficult to know to which the preference
, should be given." Pisaroni, on gaining a contralto,
did not lose her original soprano voice. She died
in 1872.

Madame Palmieri was somewhat passie ; she was
a soprano with full low notes and good method,
dramatic, and sang with expression.

Mme. Titiens had a rich soprano voice and a
large and very dramatic style. When here she
was on the wane and her voice readily became

( 197 )

fatigued and consequently her intonation was not
always perfect. But she sang with much feeling
and expression.

M'Ue. Nilsson is a true soprano of about two and
a half octaves. Her voice is of a good and rich
quality, pure, and even in the registers. Execution
and intonation generally good. In "Lohengrin"
she was excellent.

Mme. Lucca is a mezzo-soprano of a very agree-
able quality of voice. She is a very attractive
singer and an earnest actress, and expresses the
music with much intelligence and feeling.

M'lle. Torriani is a German and an effective and
dramatic singer. Aida, as performed by her, Miss
Gary, Gampanini, Maurel and Nannetti, was a grand
performance. Muzio, the friend of Verdi, was the
musical conductor.

Maurel, a Frenchman, is an admirable baritone
of the best school — he is also an excellent actor.

Gampanini is the best tenor we have had for
many years. He has a noble voice and great dra-
matic feeling. He is so conscientious a singer that
he never spares his voice, and it sometimes shows
the effect of wear ; but when he first sang' here " Di
pescator" in "Lucrezia," I thought I had never
heard a voice more fresh or charming. In passages of

( 198 )

tenderness he is as excellent as he is grand in the
most passionate and declamatory parts.

Del Puente is a baritone, with a good voice and
good method. He is a Spaniard.

Aim6e troupe open with

Oct. 2. " GiROPLE-GlROFLA."

Followed by their usual repertoire.

Oct. 6. " La Timbale D'akgent."

First time.
Aimie, Guymard, Duplan, Mezieres.

Oct. 16. "Lucia."

Miss Kellogg, Maas, Carleton, Conly.

" MiGNON."

" Teovatoee."
" Faust."

Oct. 27. "Star op the North."

Kellogg, Rosewald, Seguin, Lancaster, Maas,
Conly.

Oct. 28. "Bohemian girl."

Closed the season.

( 199 )

Nov. 8. " II Vascello Fantasma."

Mme. Pappenhdm, Miss Cooney, Preusser,

Sullivan.
Three nights.

1877. Jan. 15. " Fra Diavolo."

Mme. Rosewald as Zerlina ; Carleton as Fra
Diavolo; Mr. and Mrs. Seguin and
Conly.

Jan. 17. " Faust."

Rosewald, Maas, Carleton, Conly.

Jan. 19. "Maetha."

Same performers.

The 20th Anniversary of the Opening of the
Academy of Music.

Feh. 26. " Trovatore."

Mme. Oazzaniga as Azucena; Miss McOul-
loch as Leonore; Brignoli, Tagliaftco and
Reyna.

Mar. 5. " Marriage of Figaro."

Kellogg, Segvdns, Rosewald, Carleton, Conly,
Peakes.

( 200 )

1877. Mar. 7. " Flying Dutchman."

Miss Kellogg, Maas, Carleton, Conly, Turner.
Miss Kellogg was unusually good.

April 9. " La Boulangere a des Ecus.",
Aim6e company.

April 11. " La Petite Maribe." Lecocq.

First time.

Aimee, Desire, Raoult, Duplan.
Quite pretty.
Walnut Street Theatre.

April 13. "La Belle PouLE."

Aim6e company.

April 30. "AiDA.,'

Kellogg, Gary, Frapoli, Verdi.

May 1. " Trovatore."

M'lle. Roze, Mme. Giudotti, C, Frapoli,
Verdi.

May 2. " Mignon."

Kellogg, Marie Roze, Cary, Karl, Conly.

( 201 )

May 4. "Faust."

Matinee.
M'Ue. Roze, Montague, Karl, Conly.

Oct. 8. " Les Huguenots."

Mms. Pappenheim and Human, Miss Grim-
minger, Adams and Blum.

Oct. 10. " Taxxhauser."

Miss Wilde, Human, Adams, Wiegand.

Oct. 11. "Dee Freischutz."

Pappenheim, Cooney, Wiegand, Werrenrath.

Oct. 12. " Lohengrin."

Pappenheim, Wilde and Adams.
Repeated.

Nov. 13. " Majorilaine." Lecocq.

Aim^e, Duparc, Jouard.
Arch Street Theatre.

Pasta should be an example to all aspirants for
operatic distinction. She appeared in Paris in 1816,
and afterwards in London, but made no impression.
Not discouraged, but convinced that she had much

( 202 )

to learn, she returned to Italy where she studied un-
remittingly for four years. When she reappeared
in Paris in 1821, as Desdamona in " Othello " her
success was complete. Madame Cinti Damoreau's
experience was much the same,

" Kean while acting, often exhausted himself so
much that he fell into fits. This I am told was the
case with Miss O'Neil." And he might have added
Pasta. — Byron's Conversations, by Captain Medwin,
1821-22.

1878. Jan. 7. "Aid a."

Miss Kellogg, Cary, Graff, Verdi, Conly.

A clever performance, and a good house.

" Aida " and " Lohengrin " were produced
in this country before they had been per-
formed in either Paris or London.

Jan. 8. " Favoeita."

M'lle. Roze, Karl, Verdi and Conly.
In Rossini's time the principal parts were nearly
all written for the contralto voice. Since then so-
pranos have become more abundant. The part of
Leonora in " Favorita " was written for Mdme. Stolz,
a contralto, at Paris.

( 203 )

Jan. 9. " MiGNOx."

Misses Kellogg, Cary and Montague, Tom
Karl, Conly and Gottschalk.

Jan. 10. " Faust."

Roze, Cary, Karl, Verdi, Conly.

Jan. 11. " Bohemian Girl."

Kellogg, Annandale, Graff, Verdi.

Jan. 14. "Teovatoke."

Mdme. Roze, Annandale, Graff, Verdi.
Graff has a harsh voice, much fire and
takes high C with effect. Verdi, should
he study faithfully, ought to make a
good singer.

Mar. 18. " Lohengrin."

Pappenheim, Grimminger, Adams, Blum.

Mar. 20. " Rienzi."

First time here.

Pappenheim, Human, Adams and Blum.
Melodies after the Italian style ; fine finales ;

accompaniments excessively loud.
Repeated several times.

( 204 )

1878. " When Mesdames Bosio and Patti are heard, the
most hardened Wagnerian must be led to reflect.
For were the Wagnerian system established on the
operatic stage to the exclusion of all others, there
would be no place for such vocalization as theirs."
Verdi in comparison to Wagner is very melodic,
and yet it is a common saying in Italy, that to sing
Rossini's music, it requires six years of study, but to
sing A'erdi — six months.

Mar. 25- Rossini's "Stabat Mater," and
^"erdi's "Requiem."
Pappenheim, Miss Phillips, Fritsch and Blum.
Maretzek, conductor.

A good authority says: "Persons who are of
opinion that Rossini's 'Stabat Mater' is written in
the operatic style, and that the airs of Handel's
oratorios are not in the operatic style, may be inter-
ested to hear that 'Lord, remember David,' was
originally composed for the opera of 'Sosarme,'
where it is set to the words ' Rendi I'sereno al ciglio,'
and that 'Holy, Holy, Lord God, Almighty,' first
appears in the opera of ' Rodelinda ' as ' Dove sei
amato bene.' " — See also : Life of Handel, by W. S.
Rockstro. London, 1883.

( 205 )

Mar. 26. "Trovatore."

Pappmheim, Miss Phillips, Adams and Blum.

Mar. 27. " Rienzi."

Cast as on the 20th.

Mar. 29. " Robert le Diable."

In German.

Pappenheim, Human, Adams, Fritsch, Adolph
as Bertram. -

Mar. 30. " Der Freischtjtz."

Pappenheim, Cooney, Adams, Wiegand.

April 13. " Chimes of Normandy," Planquette.
Emilie Melville, Miss Searle, Castle, Turner,
Seguin.

April 29. " MiGNON."

Mile. Roze, Kellogg, as FUina; Miss Gary,

Karl and Conly.
An acceptable performance.

April 30. "AiDA."

Kellogg, Gary, Frapoli, Verdi and Gonly.
Frapoli's upper notes are forced and harsh ;

( 206 )

he is not a true tenor. Conly has a
healthy voice.

May 1. " Trovatore."

Roze, Guidotti, Frapoli, Verdi.

May 3. " Martha."

Kellogg, Cary, Karl, Gottschalk.
Quite agreeable.

It has been said that " a work is sometimes more
successful than its author, and ' Martha ' has cer-
tainly distanced Herr von Flotow in the race for
popularity. It may be said that ' Martha ' has had
wonderful luck. What a bonne fortune for the work
to have inspired such a singer as Mme. Bosio with
a liking for it, and, after her, two such , singers as
Mme. Patti and Mme. Nilsson."

"When Flotow arranged " Martha " for the Italian
stage, he added two airs — one for the contralto,
Nantier-Didi^e, and one for the baritone, Graziani. ,

May 27. " Les Cloches de Corneville."
Aimie, Isaye, Jouard, Mezieres.
Arch Street Theatre.

( 207 )

Oct. 21. " Trovatore."

Miss Kellogg, Gary, Lazzarini, Gottschalk.
Lazzarini is young, no style, voice rather
good.

Oct. 22. " Traviata."

Catarina Marco, (has merit), Pantaleoni, Bar.

Oct. 23. " II Ballo."

Miss Kellogg, Gary, Marco, Rosnati, Panta-
leoni, Tagliapietra.

Oct. 25. " Carmen."

First time.

Kellogg, Marco, Lazarini, Pantaleoni, Gauf-
man.

1879. Jan. 28. "Lucia bi Lammermoor."

Maria Litta, her first appearance; Gonly,
Lazzarini, Pantaleoni.

Jan. 29. "Aida."

Kellogg, Gary, Adams, Pantaleoni, Gonly,
Signorina Bonfanti, (ballerina).

Jan. 30. " Faust."

( 208 )

1879. lAUa, Gary, Adams, Conly, Caufman.

All Americans, and all creditable.

Jan. 31. " MiGNON."

Kellogg, DiMwrska, Gary, Westburg, (wretch-
ed), Gottschalk and Conly.

Feb. 6. " Her Majesty's Ship Pinafore."
At the Broad Street Theatre.

Feb. 10. " Faust."

Her Majesty's Opera Company.
Miss Minnie Hauk, Del Puente, Frapoli,
Galassi.

Feb. 11. " Lucia."

Madame Gerster, Gampanini and Galassi.
Gerster is a pure soprano — sang to F in alt
— even, penetrating and exceedingly
delicate voice. Sings with ease and ex-
quisite finish. The other artists, ex-
cellent. Orchestra and chorus good.

Feb. 12. " Carmen," By Bizet.

Minnie Hauk, Campanini, Del Puente.

( 209 )

Good performance. Mise en scene very
pretty.

Feb. 13. " SONNAMBULA."

Gerster, Robiati, Frapoli, Foh.
Immense house.

Feb. 14. " Teovatoke."

Roze, Lablache, Campanini, Galassi.

Feb. 17. " I PuRiTANi."

Gerster, Campanini, Galassi and Foli.
An excellent performance.

" Puritan! " was written for the greatest quartet
that the operatic world has ever known. Grisi,
Rubini, Tamburini and Lablache. The libretto by
Count Pepoli is dull and obscure. The opera was
brought out in London in 1835, for Grisi's bene-
fit, and the " Puritani season " is famous as the most
brilliant ever known. Bellini died in the same
year. A committee of his friends, including Eos-
sini, Gherubini, Paer and Carafa, undertook the
general direction of his funeral, of which the mu-
sical department was entrusted to M. Habeneck, the
chef d'orchestre af the Acad^mie Royale. The most

( 210 )

1879. remarkable piece for the programme of the funeral
music, was a lacrymosa for four voices, without ac-
companiment, in which the text of the Latin hymn
was united to the beautiful melody sung by the tenor
in the third act of " Puritani." It was executed by
Rubini, IvanofF, Tamburini and Lablache.

Sanderson in " The American in Paris," says, I
followed the funeral of Bellini, the composer of
" Pirata," " Puritani," and other first rate operas. Is
it not a pity to die with so much talent at twenty-
nine, when so many fools live out their four score ?
I do not recollect anything that old Methusaleh said
or did, with his nine hundred years ; and he could
not have made such an opera as " Puritani," if he
had lived as many more. At Pere la Chaise the cer-
emony was imposing. Speeches were pronounced
in Italian and French by good orators. The breezes
whispered through the pines, and a thunder-storm,
as if expressly, came , over the sun, and played
bass in the clouds, and the clouds themselves wept
as the grave closed upon Bellini.

Feb. IS. " II Flauto Magico."

Mme. Gerster, Roze, Frapoli, Del Puente, Foli.

( 211 )

May 9. " Daughter op the Regiment."
By amateurs. Did not know them.

June 18. " Madame Fa v art."

Arch Street Theatre.

Aimie, Jouard, Mezieres, Jouteau, M'lle.
Raphael.

Oct. 1. " Traviata."

M'lle. LaBlanche (Miss Davenport), her first
appearance, Sig. Baldanza, GoUscJialk

Oct. 2. "MIGNPN."

Belocca, Litta, Lancaster, Lazzarini.

Oct. 3. " Faust."

M'lle. LaBlanche, Belocca, Lazzarini, Cas-
telmary.

Oct. 4. " Lucia."

M'lle. Litta, Baldanza, Gottschalk.

Oct. 6. "AlDA."

Mme. Terisina Singer, Belocca, Petrovitch,

8torti, Castelmary.
Quite creditable.

( 212 )

Oct. 7. " Martha."

LaBlanche, Belocca, Lazzarini.

Oct. 9. " Trovatoee."

Singer, McOuUoch, Storti, Petrovitch.
Mdme. Singer was dramatic; Storti, bari-
tone, effective.

Dec. 22. " Madame Angot."

M'Ue. Paola-Marie, M. Capoul.

Dec. 23. " Pbeichole."

Paola-Marie, Bouvard and Angele.

Dec. 24. " GlEOFLE-GlEOPLA."

M'Ues. Marie and Angele, Capoul, Duplan.

Dec. 25. " Geand Duchesse."

Marie, Angele, Capoul, Mezieres.

Dec. 26. " Barbe Bleue."

Marie, Juteau, Mme. Delorme.

Dec. 27. "Les Cloches db Coeneville."

Paola-Marie, Qregoire and Company.

( 213 )

Dec. 29. " MiGNON."

Paola-Marie, Bouvard, Angele, Capoul, Ju-
teau.

Dec. 30. " La Camargo." By Lecocq.

Marie, Angele, Gregoire, Jouard and Com-
pany.

Dec. 31. " La Belle Helens."

Same company.
Marie, Angele, Juteau.

1880. Jan. 1. " La Camaego."

Cast as on the 30th.
Excellent actors.

Jan. 2. " Les Brigands,"

Gregoire, Angele, Juteau, Duplan, Mezieres.

Jan. 8. " Les Petit Due." Lecocq.

, Marie, Gregoire, Jouard, Duplan, etc.
This was a very superior " BoufFe " com-
pany. Paola-Marie was especially good.

Madame Etelka Gerster has a lovely clear, and
pure soprano voice, - even, penetrating and exceed-

( 214 )

1880. ingly delicate. She sings with remarkable facility
and exquisite finish. Though without much power,
her voice by its purity of tone, was heard clear and
ringing in the finale of "Puritani," above the voices,
chorus and orchestra.

Feb. 16. "SONNAMBDLA."

Her Majesty's Opera Company.

Marie Marimon, Il'lle. Robiati, Campanini,

Bel Puente. Ardlti, Conductor. Mme.

Marimon is a soprano, good voice,

method and execution.

Feb. 17. " Linda."

M'lle. Valleria (a Baltimorean), Lablache,
Runcio, T., Galassi, Behrens.

Feb. 18. " AiDA."

M'lle. Alwina Valleria, Gary, Campanini,

Galassi, Monti.
Good performance.

Feb. 19. " DiNORAH."

Marimon, Lablache, Robiati, Runcio, Galassi,

Monti.
One act of

( 215 )

" Teovatoee."
Campanini.

Feb. 20. " MiGNON."

Emile Amhri, Valleria, Gary, Campanini,
.Del Puente.

Feb. 21 " Faust."

Matin6e.

Valleria, Gary, Lablache, Campanini, Galassi,
Behrens,

Feb. 21. " Lucia."

Valleria, Brignoli, Galassi.

Feb. 23. "Il Flauto Magico."

Marimon, Valleria, Gary, Runcio, Del Puente,

Behrens.
An immense house.

Feb. 24. " AiDA."

Cast as on the 18th, with the exception of
AmbrS in place of Valleria.

May 5. " Bohemian Girl."

Miss Abbott, the Seguins, Castle, Miss Gilbert.

( 216 )

May 8. "The Chimes or Norjmandy."
By the Abbott troupe.

In November, the Strakosch and Hess English
Opera Troupe, at the Opera House, Chestnut Street,
gave several performances. Mme. Marie Roze,
Carleton, Conly, Peakes, and others sang in "Ai'da,"
"Trovatore," and " Mefistofele." They also gave
" Fra Diavolo " and other operas.

1881. Jan. 10. "Aida."

Her Majesty's Opera Company.
Mile. Valleria, Cary, Campanini, Galassi,
Novara.

Jan. 11. " Lucia."

Mme. Qerster, Lazzarini, Galassi, Valerga.

Jan. 12. " Meeistopele," Boito.

Valleria, Cary, Campanini, Novara; Mme.
Cavallazzi, danseuse.

Jan. 13. "Martha."

Gerster, Belocca, Corsini, DelPuente, Ravelli.

( 217 )

Jan. 14. "Favorita."

Cary, Campanini, DelPuente, Monti.

Jan. 15. " SONNAMBULA."

Matin4e.

Gerster, Ravelli, DelPuente; Valerga.

Jan. 15. " Trovatoee."

Valleria, Campanini, Cary, Galassi, Monti.

Jan. 17. " Puritani."

Gerster, Valerga, Ravelli, Galassi, Corsini.

Jan. 18. "Don Giovanni."

Gerster, Valleria, Ravelli, DelPuente, Mme.
Swift.

Jan. 19. " Faust."

Valleria, Cary, Campanini, Novara.

April 4. " Les Huguenots."

DeBeauplan's Grand French Opera Com-
pany from New Orleans. 165 artists.
Valentine, Mme. AmbrS; Marguerite, Mile.
Lablache; Raoul, M. Tournie, Marcel, M.
Jowdan.

( 218 )

April 5. " La Juive."

" Faust."
" L'Africaine."

" AlDA."

" Robert."
" Tkaviata."
"William Tell."
Reserved seats, §1.50.

Mme. Marie Geistinger's season of German
comic opera.
Nov. 21. "Boccaccio."

Mme. Geistinger and her grand company.
"Madame Favart."
" Die Fledermaus," (The Bat,) Strauss.
"La Belle Helens."
"Donna Juanita," Suppe.

Dec. 5. " Traviata."

Gerster, Giannini, Tagliapietra, Oiapini.

Dec. 6. "AiDA."

Maria Leslino, Prasini, Giannini, Oiapini.

Dec. 7. "Linda."

( 219 )

Gerster, Prasini, Perugini, Mancini, Car-
boni, B.

Dec. 8. " Tkovatorb."

Leslino, Berta Ricci, Qiannini, Oiapini.

Dec. 9. "Flauto Magico."

Gerster, Mancini, Lazzerini.

Dec. 10. "Lucia."

Gerster, Ciapini.

Dec. 20 and 23. Mme. Adelina Patti in two grand
operatic concerts, supported by Nicolini,
and others.

1882. Jan. 9. "Aida."

Mile. Paolina Rossini, Campanini, Galassi,
Novara.

Jan. 10. - "William Tell."

M. Prevost, as Arnoldo; Gallasi, Monti, Mile.
Dotti, as Matilda.

Jan. 11. "Carmen."

Mile. Hauh, Campanini, ■ Valerga, DelPuente.

.( 220 )

1882. Jan. 12. "Huguenots."

Mile. Rossini, Ravelli, Oalassi, DelPuente,
Mile. Lauri.

Jan. 13. "Trovatorb."

Hauk, Prevost, T., Cobianchi, C, Galassi.

Jan. 14. "Lohengrin."

Matinee.
Hauk, Campanini, DelPuente, Monti.

Jan. 14. "RiGOLETTO."

Mile. Rossini, Ravelli, Galassi, Monti.

Jan. 16. " MiGNON.

Hauk, Emma Juch, Lauri, Campanini, Del
Puente.

Jan. 17. " Martha."

Mile. Juch, Ravelli, DelPuente, Corsini.

Jan. 18. "Faust."

Mile: Rossini, Cam/panini, Novara, Galassi.

Jan. 19. "Magic Flute."

Hauk, Mile. Dotti, DelPuente, Monti.

( 221 )

Jan. 20. "Il Baebiere."

Mile. Vachot, Ravelli, DelPuente, as Figaro;

Monti.

Jan. 21. "Carmen."

Matinee.

The Boston Ideal Opera Company. Wal-
nut Street Theatre.
Feb. 6. "Fatinitza."

" Pirates."
" Mascotte."
" Olivette."

"Czar and Carpenter."
"Pinafore."
"Chimes of Normandy."

April 1. "Traviata" and "Lucia."

Performed this week by Adelina Patti and
Nicolini, at the Opera House, Chestnut
Street.

April 4. " L'Africaine."

Academy of IVTusic.

Hauk, Valerga, Campanini, Galassi, Novara.
Excellent performance.

( 222 )

April 10. " Trovatoke."

Miss Kellogg, Prasini, Gictnini, Oiapini.

April 11. " II Baebiere."

Gerster will introduce " Le Cariiaval cle

Venise" and Arditi's Polka.
Perugini, T., George Sweet as Figaro; Car-
bone and Maina.

April 12. " MiGxox."

Kellogg, Miss Carrington as Filina; Lan-
caster as Federico; Lazzerini, Mancini.

April 13. " Hajflet."

Mme. Gerster, Parasini, Ciapini, Lazzerini,
Mancini.

April 14. " Faust."

Miss Kellogg's farewell to the stage.
Miss Kellogg, Miss Van Arnhern, Gianini,
George Sweet, Mancini as Mephistopheles.

April 15. "SONNAMBULA."

Gerster, Lancaster, Lazzerini, Mancini.

( 223 )

April 17. Emma Abbott Grand English Opera Com-
pany.
"Chimes op Nokmandy."
"Martha."
" Olivette."
"Paul and Virginia."
Opera House, Chestnut Street.
Madame Theo, supported by Maurice
Grau's French Opera Company, six
nights, at the Opera House.

Oct. 2. "L'Archiduc."

" Mascotte."

" La Jolie Paefumei:sb."
" Les Cloches de Corneville."

Dec. 7. " The Queen's Lace Handkerchief."

By Johann Strauss.
Miss Post, Miss Matilde Cottrelly, Sig. Peru-
gini.

1883. Jan. 4. " Traviata."

Academy of Music.
Adelina Patti, Nicolini, Galassi, Monti.

Jan. 5. " AiDA."

( 224 )

1883. Mme. Fursch-Madi, Mme. Scalchi, Mierzwin-

ski, Galassi, Monti.

Jan. 6. " Lucia."

Matinee.

Adelina Patti, Nicolini, Oiampi-Cellaj as
Aston.

Jan. 6. " L'Afkicaine."

Minnie Hauk, Ravelli, Galassi, Monti, M'lle.
Dotti.

Jan. 8. " GuGLiELMO Tell."

M'lle. Dotti, Valerga as Jemmy; Mierzwin-
ski as Arnoldo; Monti as Walter.

Jan. 9. " Semiramide."

Adelina Patti, Mme. Scalchi, Clodio as
Idreno; M. Durat as Assur.

Jan. 10. Faust."

M'lle. Rossini, Valerga, Ravelli, Durat, B.

Jan. 11. " Trovatore."

( 225 )

Jan. 12. " Linda di Chamouni."

Mme. Adelina Patti.

Jan. 13. •' L'Apricaine."

Farewell matinee.

M'lle. Rossini as Selika. The other char-
acters as on the 6th inst.

Arditi, Director and Conductor.

Mar. 25. " Fortunio."

Produced at the Lyceum.
A very pretty and successful comic opera,

composed by our talented townsman,

Mr. Francis T. S. Darley.

April 16. " The Flying Dutchman."
First time here in Italian.
Mme. Albani as Senta; Ravelli as Eric; Clo-
dio as Pilota; Oalassi as L'Olandese.

April 17. " Semiramide."

PaMi, Scalchi, Durat, Clodio, Monti.

April 18. "Lohengrin."

Mme. Farsch-Madi, FrapoUi, Galassi, Monti,
Durat.

(• 226 )

1883. April 19. "L'Etoile du Nord."

Patti, Dotti, Frapolli, Durat, Clodio.

April 20. " Don Giovanni."

Mme. Oabriella Boema, Dotti, Scalchi, Ra-
velli, Tagliapietra, Corsini as Ijeporello.

April 21. " Linda." '

Matin6e.

Adelina Patti, Scalchi, Frapolli, Galassi,
Monti.

April 21. " Teovatore."

Ravelli, Tagliapietra, 3Ime. Boema. Mme.

Galassi.
Patti nights, reserved seats, $5, other nights,

$3.

The present is the only year I have not been
able to attend the opera since January, 1886, Mis-
sing Semiramide last April was the greatest priva-
tion of all.

The phenoraenal popularity of Arthur Sullivan's
Operattas is a part of musical history. " Pinafore "
was performed at the Academy of Music, April 29th,

( 227 )

1879, by the "Church Choir Company," who were
quite equal to the requirements of the music.

The taste for light opera that prevails at present
has led to the production of some very enjoyable
performances, such as " Boccacio," " Fatinitza," "Mas-
cotte" by Audran, "Fortunio" by Darley, " Rip Van
Winkle " by Planquette, " Pedro the Minstrel," " A
Night in Venice," " The Queen's Lace Handkerchief"
and " Prince Methusalem " by Johann Strauss, " lo-
lanthe" by Sullivan, "The Beggar Student" by
Millocher, " Lieutenant Helene " by Catenhusen, etc.
It is not deemed necessary to give the casts of the
performers, for although they acted their parts
agreeably, they could scarcely claim to be ranked as
vocalists of merit.

We can recall with much satisfaction a list of the
distinguished vocalists who have been heard in
Philadelphia. In .1847 The Royal Italian Opera, of
Covent Garden Theatre, was established under Mr.
Frederick Gye. The following were the principal
singers : Mme. Grisi, Persiani, Mario, Tamburini,
Alboni, (who had just come out), Salvi, Ronconi,
Rovere, and Marini. Of these nine artists, seven
have been heard on the operatic stage in this city.
In 1869 the Royal Italian Opera prospectus was
issued conjointly by the directors of the Royal Ital-

( 228 )

1883. ian Opera and of Her Majesty's Theatre. The com-
pany included Mme. Patti, Nilsson, Lucca, Murska,
Titiens. Mongini, Naudin, Tamberhk, Graziani and
Santley. Eight of these ten vocaUsts have sung in
our Academy of Music, with the exception of Gra-
ziani, who sang at the Chestnut Street Theatre in
1854 and has ever since been retained in Europe.

When we add to these, the charming Bosio, Son-
tag, Badiali, Maurel, and Albani, without going
further back than the Havana Troupe, it must be
acknowledged that we have heard the larger portion
of the greatest vocalists of the present century.

Some of the most distinguished artists possessed
many accomplishments independently of the re-
quirements of their profession. Malibran sang in
Spanish, Italian, French and English, and spoke
fluently , these four languages, and she also had
some knowledge of German. At Brussels, she was
applauded as a French Rosina, delivering the prose
of Beaumarchais as Mademoiselle Mars would have
delivered it. She drew in water colors, was ac-
complished in horsemanship and driving, and all
agree that she was as charming in her character as
she was in her manners and conversation. ._ I have
heard Madame LaGrange sing in Italian and Ger-
man in the same opera. The Germans who were

( 229 )

singing with her, sang in their own language ; when
it came to a duet, her good taste induced her to
sing it in their language. Lablache, beside his
other talents, could whistle equal to the best piccolo
performers ; he was also an excellent contra-bassist.
He had excellent manners and a fine presence ; was
very well informed, and possessed . a cultivated
literary taste. We have seen how Tamburini's
varied accomplishments were fully recognized at
Palermo.

The extensive musical library of Mr. Joseph W.
Drexel, formerly of this city, but now residing in
New York, is probably the most complete private
collection in existence. It was at first formed by
the union of the libraries of H. F. Albrecht and of
the late Dr. R. LaRoche, of Philadelphia, and aug-
mented by importations from Europe. In the
printed catalogue of 1869, the number of works was
1,536, and of volumes, 2,245. Mr. Drexel informs
me, that since his first catalogue appeared, he .has
nearly trebled the number of his books. He has
added the cream of noted collections in London,
Dresden, Berlin, and of all others that were obtain-
able. He has made New York his permanent re-
sidence, and his collection will at his death be

( 230 )

deposited in one of the most distinguished libraries
in that city. Our loss is therefore New York's gain.

Rossini died in Paris, November 14th, 1868.
The funeral service took place at the new church,
La Trinity. Around the organ stood Mesdames
Patti, Alboni, Nilsson, Krauss, Bloch and Ugalde.
The most remarkable among the gentlemen were,
Tamburini, Duprez, Roger, Nicolini, Agnesi, Gar-
doni, Lefont and Faure. The right of the organ
was filled by the choruses of the Conservatoire.
Tamburini's son acted as master of ceremonies.
The " Quis est homo " from Rossini's Stabat Mater
was sung by Alboni and Patti; the prayer from
"Moses" was sung, and after singing the "Supplica-
tion" the body was conveyed to Pare la Chaise.
Many of the most distinguished people of France
and Italy were present.

It is commonly said that the opera cannot be
maintained, except under a monarchial govern-
ment. In England, the ruler under whom opera
was introduced, was Oliver Cromwell. Opera in
the true sense of the word, that is to say. Opera
Musicale, or dramatic work in music, was not
firmly established till Handel's time, when it was

( 231 )

aided b}- a subscription of" fifty thousand pounds
raised for it by the aristocracy.

Oliver Cromwell granted to Sir William Dave-
nant permission to open a theatre for the perform-
ance of operas. Antony k Wood says, that " though
Oliver Cromwell had prohibited all the other
theatrical representations, he allowed of this, be-
cause being in an unknown language it could not
corrupt the morals of the people." The " unknown
language " was simply music which, as the language
wherein for the first time in England the chief busi-
ness of a five-act drama was to be conducted, may
well have appeared unintelligible.

Hogarth says, Davenant's " Siege of Rhodes " was
performed at Rutland House in 1656. Pope says,
this was the first opera sung in England. Evelyn,
in his Diary, 1662, January 9th, says : "I saw acted
the second part of the ' Siege of Rhodes.' It was in
recitative musiq !"

Oliver Cromwell was a lover of music. It is
known that he engaged Hingston, a celebrated
musician, formerly in the service of Charles, at a
salary of one hundred a year. Antony^ Wood tells
the following story of Cromwell. "James Quin, one
of the senior students of Christ Church, with a bass
voice, 'very strong and exceedingly trouling,' had

( 232 )

been turned out of his place by the visitors ; but,
"being well acquainted with some great men of
those times that loved music, they introduced him
into the company of Oliver Cromwell, the protector,
who loved a good voice and instrumental music
well. He heard him sing with great delight,
liquored him with sack, and in conclusion, said:
' Mr. Quin, you have done well, what shall I do for
you?' to which Quin made answer: 'That your
Highness would be pleased to restore me to my
student's place,' which he did accordingly."

There have been many complaints in the Eng-
lish newspapers lately, that the exorbitant salaries
obtained in this country by distinguished vocalists
have a disastrous effect on the opera in England,
and that the managers have rebelled against the
demands of the artists. The feeling of the opera-
going public appears to be with the managers. It
is evident that at the rate of five thousand dollars a
night for a single artist, it would be impossible to
produce works which require several principal
vocalists, "The Huguenots," for instance. Those
who are fond of the opera and have some knowl-
edge of music, will much prefer to have all the parts
respectably filled, even if not by the most brilliant
stars of the period, than to hear but one good

( 233 )

singer, at the sacrifice of all the concerted pieces,
and the ensemble of the opera.

Of the Italian companies who visited this coun-
try, the first was that of Garcia, who opened a
season of opera in New York, November 26th, 1825.

In Philadelphia, the first Italian opera troupe
was the Montresor company, which opened in Jan-
uary, 1833, at the old Chestnut Street Theatre.

In Boston, the first Italian opera company was
the Havana Troupe, in 1847, with Signorina Te-
desco, Perelli, Vita, and others. This company per
formed in New York and Philadelphia. Sefloi
Marty, of Havana, brought his troupe to the United
States annually till 1851, at which time it was prob-
ably equal to any opera company in Europe. The
orchestra was led by Arditi; and Bottesini, the
greatest contra-bassist that has ever lived, was the
maestro of the company.

From about 1848 until recently, Messrs. Max
Maretzek, Strakosch, Ullman, and Maurice Grau,
visited Europe and brought out companies of vari-
ous degrees of merit and met with different degrees
of success.

In 1878, Mr. Mapleson brought to this country
Her Majesty's Opera Company, consisting of some
excellent performers, and has met with success suf-
ficient to induce his annual return.

ADDENDA.

There were some public performances of opera at Concert
Hall, Chestnut Street, in 1866, mostly by amateurs, which were
of sufficient merit to be noticed.

1866. Feb. 6. " Clarissa Harlowe,"

CompoEsd by Sig. PereMi.
Miss Hewlett, a fresh soprano with good low notes ;
Charles M.SchmUz, T., Alfred Durand, Bar., Mr.
Horace Nathans, B.
This opera was first produced in Vienna.

Feb. 20. " Luorezia Borgia."

Mrs. Davis, Miss Denagre, Mr. Waterman, Mr. Taylor.
Conductor, Sig. Perelli.

March 2. " Maria di Eohan."

Miss Cowtin, Miss Denagre, Waterman and Durand.

April 16. "Linda."

Miss Hewlett, Mr. Durand.
Both were good.

May 19. " La Favorita."

Sip. Perelli as Fernando; Mrs. Davis, Miss Poole, Messrs.
Angier and Taylor.

Dr. Camac, of this city, has furnished me with the following
list of performances at the Amateur Drawing Room.

( 236 )

AMATEUR DRAWING ROOM OPERA.

1868. June 19. "Doctor of Alcantaea."

Alessrs. Gilchrist, Bamhurst, Bishop, Bumham and

Barrett. The Misses Oregory, Gilchrist and Barrett.
All those were members of " Our Musical Society,''

West Philadelphia.

Oct. 29. " Doctor op Alcantara."

Messrs. Gilchrist, Hessenbruche, Bishop, Bumham,

Krien and Mcllvain. The Misses Slater, Gilchrist

and Barrett.
All of " Our Musical Society," as above.

April 28. " Doctor of Alcantara."

The three Misses Durang, of the " Philadelphia
Opera Company," also Messrs. Bishop, Gilchrist,
Khorr, Van Horn, Neel and Leba. Stage director,
W. G. Dietrich.

May 7. " Les Noces de Jeannette.''

Miss Scliaumberg. Messrs. D'Epineuil, H. A. Broxun
and Eustis.

May 15. " Les Noces de Jeannette."

Dec. 2. " Two Cadis."

Mme. J. Schimpf, Messrs. Bishop, Gilchrist, and the
two Bamhursts.

Dec. 23. " Doctor of Alcantara."

Miss Poole, Mme. Schimpf, and an unknown. Men
as above.

Dec. 28. "Le Chalet."

The Misses Fredonia and Naomi Durang and Misses

Save and Breton with Mr. G. T. R. Knorr.
Same evening was given :

( 237 )

" LiSCHEN AND FeITZCHEN."

Miss Durang and Mr. Bradshaw.

1870. Jan. 19. " The Two Cadis."

Mme. Schimpf, Messrs. CHlchrist, Bishop and Barnhurst.

Jan. 25. " Lischbn and Fritzchen."

Miss Durang and Mr. Bradshaw.
Followed by :

Jan. 25. " Le Chalet."

Same cast as December 28th, 1869.

Feb. 16. "The Contrabandista."

Mme: Schimpf , Miss Poole, Messrs. Q. Bishop, Gilchrist,
and the brothers Barnhurst.

April 20. "The Son and Stranger."

Mendelssohn's only opera.
Mme. Schimpf, Miss Poole, Messrs. Oilchrist, H. R.

Barnhurst, G. Bishop, and full chorus.
Same evening :

" Love in Lodgings," Sullivan.

Bishop, Barnhurst and Gilchrist.

Oct. 7. " Pri.ma Donna for a Night." Offenbach.

Benefit of Mrs. Pyne Galton and Miss Maggie

Harold.
Mrs. Galton, Misses Cleveland and Harold, Messrs. J.

Rogers, C. N. Drew, L. Reuben and Murphy.
Followed by selections from :
"Fra Diavolo."
By same party.

1871. Jan. 12. " Love in Lodgings."

Same cast as April 20th, 1870.

( 238 )

Nov. 7. '' The Widow's Retreat." Gabriel.

The Durang opera company.

Nov. 10. " The Pet Dove/' Oounod, and " Fashion," Levy-
By same company.

The performers in the above, and what follow by
this company, were the three Misses Durang,
Mrs. Miriam Ashton, Mrs. Emma Francis, the
Misses E. Gilbert, H. Gleason and F. Lee, witji
Messrs. T. Vernon (tenor), /. Homer (baritone),
W. Moyer (tenor), and T. A' Beckett, Sr., Mr. W.
G. Dietrich, director and conductor.

Nov. 14. No programme.

Nov. 17. No programme.

Nov. 21. "The Rose of Savoy," Bordese. — "Fashion," Levy.

Nov. 24. No programme.

Nov. 28. " The Image," Gabriel, and " The Rose op Savoy."

Beside the operas mentioned above, the Durang company
gave:
"The Bride op Song," Bmedirt.

"The Rival Beauties."

" The Soldier's Legacy," McParren.

"The Signal," Offenbach.

Dec. 27. " The Widow's Retreat,'' and " The Image."

Complimentary benefit to the Misses Durang by
above company.

1872. Jan. 1. " Monsieur Choupleuei," and

"La Rose de St. Flour."

( 239 )

1872. Jan. 2. " Monsieur Choupleuri,'' and

" 66, OB, The Lottery Ticket."

Jan. 3. " Monsieur Choupleuri," and

"LiSCHEN AND FrITZCHEN."

Jan. 5. " Monsieur Chouflbhri," and

"La Rose de St. Flour."

The above four representations were given by the
Susan Galton Operatta Company; this included
herself {Mrs. Kelleher,} and Mrs. Sophia Mozart,
Messrs. Arnold, Kelleher, Davenport, Homer and
Caldwell.

( 241 )

THE AMERICAN ACADEMY OF MUSIC.

Until the erection of the Academy of Music, Philadelphia
had no building that was planned and built for the, especial
production of Opera; In 1847 the " Havana Italian Opera Com-
pany," with Tedesco and Perelli, performed at the Walnut Street
Theatre. When Bosio and Salvi first appeared here in 1850,
they sang in the Old Chestnut Street, and afterwards in the
"National Theatre," Chestnut and Ninth Streets. These houses
were selected as the best then existing in the city. The neces-
sity of an Opera House of the first class, constructed expressly
for the performance of lyrical drama, became so obvious that it
was frequently discussed by our more intelligent and public
spirited citizens. Early in 1851 the following call for a meeting
on the subject was privately issued. The meeting was called
by Mr. Geo. S. Pepper and Jos. Beese Fry, but without signa-
tures :

" A few gentlemen, considering the present a favorable time
to attempt the erection of an Operatic and Dramatic House,
propose to hold an informal meeting in the small saloon of the
Assembly Building, on Wednesday evening next, the 19th inst.,
at 7.30 o'clock, for the purpose of consulting on the project. At-
tendance at the meeting will involve no committal to its ob-
ject. Your presence is therefore solicited with this understand-
ing. Information respecting the lot, the plan of building, etc.,
will be laid before the meeting. It is believed that a commo-
dious and respectable place of public amusement, is now de-
manded in Philadelphia, not only for the pleasure, but for the
interests of the community, as a means of attracting strangers,
and increasing its general business.

" The proposed meeting will be considered private, as for
certain reasons the enterprise might be defeated, if now made
public. The attendance of any of your friends, who you may
suppose will feel an interest in the project, is also requested."

"Philadelphia, February IS, 1851."

After many efforts to raise the necessary funds, a charter
was obtained dated May 4th, 1852, and 'the following Commis-

( 242 )

sioners were appointed " to receive subscriptions to the stock
of the American Academy of Music to the amount of 4,000
shares :"

Joseph E. Ingersoll, George M. Dallas, Henry D.
Gilpin, Jno. M. Scott, Chas. Henry Fisher, Joseph
Swift, Robert Morris, Jno. Rea Barton, J. Price
Wetherill, Geo. Cadwalader, Edw. S. Buckley, J.
V. S. De Havilland, Chas. Harlan, Chas. Wells,
Hartman Kuhn, Jr., Aubrey H. Smith, Chas. E.
Smith, Geo. McHenry, Geo. H. Boker, Emlin
Physick, Wm. Parker Foulke, Jas. C. Fisher, Jas.
McMurtrie, Frederick Lennig, Gideon G. West-
cott, J. K. Mitchell, Jno. B. Myers, J. Pemberton
Hutchinson, Jno. H. Hugenell, and John Siter.
In October, 1854, the Board of Directors invited architects
to prepare plans for an Opera House to be erected at the south-
west corner of Broad and Locust Streets. The external dimen-
sions of the building were to be 140 feet on Broad Street by
238 on Locust ; to be of brick with brown stone dressings, etc.
The ablest artists of Philadelphia, New York and Boston en-
tered the contest. On the 15th of December, 1854, designs, fif-
teen in number, were received by the building committee, con-
sisting of the following gentlemen :

Jno. B. Budd, President of the Board of Directors ;
Geo. S.' Pepper, Chairman of Building Commit-
tee ; Fred. Graff, Sam. Branson, Jas. C. Hand,
Jno. P. Steiner, who, together with the following
gentlemen, constituted the Board of Directors :
Chas. Henry E'isher, Isaac Waterman, James
Traquair, Lyon J. Levy, Ferd. J. Dreer and Fair-
man Rogers.
After a long and careful examination of the plans, sections
and elevations, the committee decided in favor of the one sub-
mitted by Messrs. N. Le Brun & G. Runge, architects of Phila-
delphia. The committee determined not to enter into any
contracts for the erection of the building before the requisite
amount of stock ($250,000) was fully made up. This being ac-

( 243 )

complished, the ground was broken on the 18th of June, 1855,
and the corner-stone laid on the 26th of July following. Mayor
Robert T. Conrad delivered an address on the importance of
the enterprise, and the beneficial results anticipated from it.
A shower passed over the assemblage during the ceremony,
and was succeeded by a beautiful rainbow, — which was poet-
' ically alluded to by the Mayor, and was accepted as an omen
of success.

The building was constructed and completed within the
space of nineteen months.

The auditorium is 102J feet long, 90 feet wide and 70 feet
high. The stage is 72J^ feet deep, 90 feet wide and 70 feet high.
The seating capacity of the auditorium is 2,900.

The best authorities, American as well as European, declare
that in the following points the building is unrivalled, namely :

1. Facilities of exit from all parts of the house.

2. Perfect view of the stage throughout the audi-

torium.

3. Perfect ventilation.

4. In acoustic properties it is not excelled.

DiRECTOES OF THE ACADEMY OF MuSIC PROM ITS ORGANIZATION

TO THE Present Year, 1883.

Geo. Cadwalader, 1853. Fredk. Graff,

Chas. H. Fisher, 1854. H. M. Hildeburn,
J. P. Hutchinson, Fairman Rogers,

Jno. B. Budd, • 1855. Nathan Taylor, ,

Jos. Swift, Thos. Sparks,

Isaac S. Waterman, Jas. L. Claghorn,

Saml. Branson, D. Haddock, Jr.,

W. Parker Foulke, Wm. Camac,

F. McMurtrie, H. M. Phillips, 1872.

Jas. C. Hand, 1858. Chas. Norris, Jr.,
Ferdinand J. Dreer, Seth I. Comly,

L. J. Levy, C. S. Lewis,

Jas. Traquair, Saml. B. Thomas,

Jno. P. Steiner, Alfred G. Baker,

<jreo. S, Pepper, S. Decatur Smith,

( 244 )

Ludovic C. Cleeman,
Anthony J. Drexel.

When a date is added to a

name it signifies that the gen-
tleman was elected President
in that year. For instance Mr.
Hand was elected in 1858 and
served till he resigned in 1872.

Crimson Interiors obtain in the following theatres :
Antwerp, Berlin, Bordeaux, Cairo, Constantinople, Copen-
hagen, Dublin, Frankfort, Genoa, Geneva, Hamburg, Hanover,
Naples, London, Messina, Moscow, Munich, Paris, (Opera),
Philadelphia, Stockholm and Vienna. Fenice at Venice, is
pure white Persian and gold. Turin, black and crimson. St.
Jago. crimson and gold fleur de lys. Prague, white. Moscow,
amber. Mayence, yellow and gold, bordered with crimson vel-
vet. Pergola, Florence, gray and gold. Amsterdam, rich brown
and gold. Metropolitan, New York, light yellow.

Capacity of Principal Theatres.
Mons. Gamier, architect of the New Paris Opera House, was
furnished with the official returns from all- the principal thea-
tres of Europe, carefully drawn, with dimensions, arrangement
etc., from which he prepared the following returns of their
seating capacity :

Persons.

Persons.

San Carlos,

3,000

Turin,

2,000

Drury Lane,

3,060

Antwerp,

1,830

La Scala,

3,000

Paris, (old Opera),

1,783

Covent Garden,

2,500

St. Petersburg, (grand

DubUn,

2,490

theatre).

1,773

Vienna,

2,406

Berlin,

1,736

Munich,

2,300

Stuttgart,

1,750

Lisbon,

2,000

Mayence,

1,675

Genoa,

2,000

Hamburg,

1,300

Felice, (Venice),

2,000

Bordeaux,

1,300

Copenhagen,

1,400

Metropolitan, N. Y.

3,064

New Paris Opera,

1,811

Academy of Music,

Hanover,

1,900

Philadelphia,

2,900

St. Petersburg,

1,840

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( 247 )

MUSICAL SOCIETIES AND CONCERTS.

In an article by AV. Barclay Squire, written for Grove's Dic-
tionary of Music, 1880, he says : " Philadelphia is remarkable
among the cities of the United States for its vigorous musical
life. No less than 65 societies for the active practice of music
exist within its precincts." Then follows a list of societies
with the names of the conductors. Among these is the " jNIu-
sical Fund Society " which is the oldest of them all. It was
incorporated February 29, 1820; in the words of the charter,
" for the relief of decayed musicians and their families, and
the cultivation of skill and diflfusion of taste in music." Among
the gentlemen who organized the society were Dr. AVm. P. De-
wees, Dr. Robert M. Patterson, John K. Kane, Charles Hup-
feld, Benjamin Carr, Benjamin Cross, George Campbell, Frank-
lin Peale, Francis Gurney Smith, Red. S. Smith and Wm. 8.
Smith. They at first met in "Carpenter's Hall," Chestnut
Street. Their new hall in Locust Street, near Eighth, was
opened to the public with a grand concert on the evening of
December 29th, 1824 ; on which occasion, among other pieces,
Handel's " Dettingen Te Deum " was performed by the Society.
In 1847 the Hall was enlarged by adding 20 feet to the length
of the building, and the stage was removed from the north to
the south end of the hall, and fortunately its exceptionally
good acoustic properties were not impaired. Many of the most
distinguished artists of the last sixty years, both vocal and in-
strumental, sang or played in this Hall. Among them were
Malibran, Cinti Damoreau, Fanti, Bordogni, Artot, Montresor,.
Fornasari, Sivori, Jenny Lind, Bosio, Alboni, Sontag, Catharine'
Hayes, Grisi and Mario.

During thirty years the Society gave about 100 concerts..
As the city continued to extend westward, the Hall became too
remote for convenience, and consequently the rental fell off.
In order to keep faith with their life subscribers, concerts were
given at a serious pecuniary loss. In 1847 the late Mr. Pierce
Butler induced many of the leading ladies of the city to aid in
an amateur concert for the benefit of the Society. The Orches-
tra of the Musical Fund has always been composed of profes-

( 248 )

sional musicians, aided by a few efflcient amateurs. The ama-
teur members were Messrs. Pierce, Butler, flute; Cornelius
Hewitt, cello ; J. L. Laffitte, double bass ; Robert Patterson,
viola ; Alfred Durand, triangle. Only the two last of these
gentlemen survive.

The " St. Cecilia Society " was established in 1824. Among
the members were James B. Longacre and Elijah Dallett.

The " Anacreontic Society " was organized about fifty years
ago. Some thirty-five years since, I used to hear some of the
members speali of their meeting at each other's houses at that
time. They were all elderly gentlemen. Among them were
Franklin Peale, Elijah Dallett, Benjamin Cross, William Nor-
ris and AV. H. W. Darley. They have all passed away.

The " Philharmonic Society," was probably organized about
• the same time as the "Anacreontic." Many of their concerts
will have place in the list which follows. This Society was
composed of amateurs, for the practice of instrumental music,
and was led by a professional musician. They gave concerts
for many years, and engaged the best available talent, both
vocal and instrumental. The Society ceased to exist several
years ago.

There were many musical societies known to us only by the
advertisements of the newspapers of that period, such as :

^SS^- "The Apollo," — Concerts.

1834. Philadelphia Glee Association, — Concerts.

1835. The Philadelphia Sacred Music Association

gave concerts. These societies appear to have ex-
pired in their youth.

1848-9. "The Junto."

Dr. R. M. Patterson, President.- Lady Patroness,
Mrs. Hartman Kuhn.

This was a society of about 30 members. Each member

( 249 ) ,

was entitled to a limited number of tickets for presentation to
friends. It was strictly an amateur club of ladies and gentle-
men ; the leader was chosen from among their own members.
Of 60 pieces sung during the season, more than one third were
from operas that had never been performed in Philadelphia.

1849 -50. " Amateue Musical Soieees."

This Society was composed of about seventy ladies and gen-
tlemen, amateur vocalists, who were accompanied by a full
orchestra of the best professional musicians of Philadelphia.
The entire direction of the music was under Signer Perelli.
The concerts were given at the Musical Fund Hall, and none
but the subscribers were admitted.

Of all the above Musical Associations, the only one that
survives is the '• Musical Fund Society."

The following concerts are selected, either for their musical
merit, or to fix the date of the appearance of certain artists,
or the introduction of certain instruments, as the Sax Horns,
or for some peculiarity, as the " Hungarian Singers."

1824. Among the earliest concerts of the " Musical Fund Society "
was that given' on the occasion of the opening of their new
hall, Dec. 29th, 1824.

Handel's "Dettingen Te Deum " and other pieces were per-
formed by the Society.

1826. Nov. 16. " Twelfth Concert of the Musical Fund Society."

The Misses Gillmgham and Mr. Paddon.

1827. June 16. " First appearance of Madame Malibran in Philadel-

phia. Musical Fund Hall. The Signorina will
give a miscellaneous concert."

PART I.

Overture, Mozart.

Aria, " Che fara," Signorina.

" "Batti, batti," Signorina.

( 250 )

accompanied by Mr. Gilles on the violoncello.

" Home, Sweet Home," ■ Shjuorina.

Minuetto, Haydn.

PART II.

(Overture, Haydn.

Song, "The Light Guitar," Sif/norhia.

Solo, violoncello, accompanied by Siguorhia.

"Xel cor piu non mi Sento," with variations, by S'ujiioruia.

" Di tanti palpiti," Signoriua.

Leader, Mr. Hupfdd. Piano, Mr. DaOmiuclc.

Admission, |2.

Prom Poulson's America)i Daily Advertiser.

The Signorina's second concert will be given at the new
tlieatre (Chestnut Street Theatre), on Saturday evening, June
23d, 1827.

PART I.
Overture to the Barbiere di Seviglia, in character,
•" Una voce poco fa," Kigiiorbin.

Aria, Rossini, Sig. liosiclt.

" Home, Sweet Home," Slgii.ori.n.a.

Duette, " Mille Sospiri Lagrime," by Rossini,

Mr. Bdj/lr and Signorina.
French song, "Tallarala," Signorina.

Aria, Buffo, Sig. Rosich.

PART II.

■" When William Tell." Signoriiin.

Spanish song, by Garcia Sig^iorina.

Duetto, " Con Pazzienza." Higiiorina and RoKirh.
Overture, Tancredi, in character,

" Di tanti Palpiti,', iSignoriim.

Duo, " Alvivo lampo," Signoriua and Mr. Boyle.

The " Signorina " was the pet name of M'lle Garcia in New
York. January 10th, 1827, the United Stales Gazette says: "the
lirst appearance of Madame Malibran, the Garcia, at the Bow-

( 251 )

ery Theatre is postponed until the loth inst." Jan. 17th
" The ' Signorina ' played Count Belino, on the 15th, and will
make her second appearance in English Opera on Friday."

1833. March 7. , " Oeatokio of Moses in Egypt."

Sig,' Fornasari, Corsetti, Pedroili ; Signorine Pedrolli

and Saccomani.
Musical Fund Hall.

Nov. 28. Musical Fund Society's Concert.

Mrs. Austin, Mr. Ch(.-<.vnaii, clarinet: and Mr. Trust,
on the harp.

Nov. Anacreontic Society's Concert.

First ladies' night this season.

W. H. W. Darley, Secretary.

Anacreontic Society.
Ladies' night.

Philadelphia Glee Association.
Sig. Vai will perform on the mandolin and guitar.

" The Apollo " — (Concert.)
Darley, Treasurer.

Concert.
Mr. and Mrs. Wood and Mr. Walton.

Musical Fund Society's Thirty-firs* Concert.
Mr. and Mrs. Wood ; Mr. Taylor on the piano.

April 17. Grand Musical Festival.

Duo from Cornicero's Opera, '' Adele di Lusignano;"
Signors Fabj and Porto.

May 8. Benefit op Sig. Willext.

Musical Fund Hall.

1834. Jan.

7.

Jan.

10.

Jan.

Feb.

18.

Feb.

26.

( 252 )

Scena of Vacqaj, Fabi, T., Duo from " Semir amide,"
Bordogni and Porto; Duo, Fanli and Eavaglia.

Oct. 8. IMe. ^'orton'.s Concert.

Musical Fund Hall.

Miss Watson's first appearance; Mrs. Franklin, Mr-
Archer. Norton was trumpeter to the First Troop
of Philadelphia for some j'ears.

1835. Jan. Philadelphia Sacred Music Society's Concert.

Jan. 29. Philhakjionic Society's Concert.

" Oratorio of the Seasons."

Feb. 4. Musical Fund Society's Concert.

Miss f]'(itson, Mr. Hupfeld, Hainia.

April 30. Musical Fund Society's Concert.

" Oratorio of the Seasons.''

1836. March 23. Musical Fund Society's Concert.

Mrx. and Miss Watson, C. Horn, Jr., Hupfeld.

May II. Vocal Concert.

Musical Fund Hall.

Mr. and Mrs. Wood, Brough and Walton.
First part of " Sonnambula ; " chorus and orchestra
of the Chestnut Street Theatre.

Oct. Grand Concert.

Musical Fund Hall.
Signors Gamhaii, Cioffi, Fabj and Mdme. Otto.

Dec. 30. " The Apollo,'' Soiree Musicale.

Hupfeld, Reinhart, Schmitz, B. C. Cross.

W. H. W. Darley, Treasurer.

( 253 )

1837. Jan. 18. Mr. Chas. Seltz, from Vienna, will give a grand con-

cert at the Musical Fund Hall. Messrs. Keyset,
Meignen, Peile,A. Scliiiiitz, Huttner, Cross and Seitz
on the violin. Misses Watson and Charlotte Ford.

Feb. 7. Musical Fond Society's Concert.

Mrs. Gibbs (formerly Miss Gradden, noted in Eng-
land for her pretty figure, when young). Hupfeld,
Director.

May 11. Hexby Russell's Concert.

Masonic Hall.

" Some Love to Roam,'' " Come Brothers, Arouse,"
etc.

Oct. 17. Concert.

Musical Fund Hall.
Sig.Paggi,0\>oe; Signora Ruiz- Garcia, sister of the

late Mrs. Malibran, Valtelina, B., Miss Charlotte

Ford and Rosselti.

Concert by the
Oct. 20. Prague Company

of nine Professors of Music.
Overtures, "William Tell," etc.

Oct. 31. Concert.

Sig. Gambati, Mrs. Watson, Signora Maroncelli.

Oct. Dempster's Ballad Concerts.

1838. Feb. 23. Concert.

Arch Street Theatre.
Caradori-Allan, Sig. Fabj, Brough.

March 26. Caradori-.\i.lan Coxcekt.

Musical Fund Hall.

( 254 )

June 7. Concert.

Musical Fund Hall.
Sig. Fornasari, Fchj, Broiigh.

Oct. 17. Sig. De Begnis' Concert.

Dec. 1. Frank Johnson will give musical soirees during

Christmas week at the Philadelphia Museum, on

the plan of Musard's, Paris. Admission, 25 c^nts.

Prank Johnson was a negro ; his band was quite

celebrated.

1839. Feb. 22. Concert.

Chinese Museum, Ninth and Sansom.
Miss Mary and Rosina Shaw.

March 28. Concert.

Assembly Buildings.
/. P. Knight, Composer.
" She Wore a Wreath of Eoses," etc.

Oct. 30. Jno. T. Norton's Concert.

Musical Fund Hall.

Mrs. Segnin, Mrs. Bailey, Knight, Seguin, Baron R. dg
Fleur, Pianist.

Nov. 27. First Grand Concert.

Miss Shireff and Mr. Wilson.

Philadelphia Museum, Ninth and Sansom Streets.
I

Dec. 3. Musical Fund Societv's Concert.

Mr. and Mrs. Seguin, Miss Pardi, on the Harp ; Sig.
Ribas, on the Oboe; Huttner, Jg,rvis, Oambati,
Meignen.

Dec. 20. Grand Vocal Concert .

Museum, Ninth Street.

( 255 )■

Xhe four Hungarian Singers. Vocal Overture, in
which they will introduce imitations of, instru-
ments, viz., Flute, Clarionet, Trombone and Bas-
soon. Aria, " Di tanti palpiti," and march from
" Puritani ; " staccato echo, by Mr. Kosen.

1840. Jan. 6. Concert.

Museum, Ninth Street.

The Rainer family, Margaretta, S., Elena, C, Simon,
B., Lewis, T., Yodeln.

Jan. 23. Concert op Musical Fund Society.

" Oratorio of David."
Mrs. Watson, Miss Wells, J. T. Norton, L. Meir/nen.

Nov. 10. Mr. Braham's Concert of Sacked Music.
Musical Fund Hall.
Mrs. Loder, Mr. and Mrs. C. E. Homl

1841. Feb. 8. " Magic Flute " Concert.

Musical Fund Hall.

Mme. Otto, Miss Poole, Messrs. Manvers, Seguin, Oiu-
belei and Latham.

Feb. 23. Concert.

Musical Fund Hall.

Dofta Dolores Nevares de Goni, Professor of the Gui-
tar; Seiior de Goni.

June 23. Concert.

Musical Fund Hall.
Mr. Manvers and the Seguin troupe.

June 24. Cokceet.

Philadelphia Museum.
Mrs. Watson and Mr. Braham, " acknowledged to be

( 256 )

" the first tenor -singer in the world." (Adver-
tisement.)

Oct. 12. Concert.

Musical Fund Hall.

/. T. Norton, Sig. Antognini, T., Mrs. Sutton and Mn..
Bailey.

Oct. 19. Sig. John Nagel,

Pupil of Paganini.

Musical Fund Hall.
He was a cold performer, but remarkable for the purity
and correctness of his harmonics.

Nov. 8. Miss Sophie Mei.izet's Concert.

Musical Fund Hall.
Mdme. De GoUi, Guitar ; Mr. De-ulver, Flute.

1842. Jan. 14. Rossini's " Stabat Mater."

and pieces from operas.

Mrs. Seguin, Mrs. Bailey, Shrival, Seguin, Archer.

May 9. Aug. Noubrit's Grand Concert.

Nagel, violinist to the King of Sweden ; Nourrit,.
Professor of vocal music in the Conservatoire,
Paris; Mrs. Loder, etc.

May 11. Miss M. E. May wood and Mb. Walton

will give concerts, a la Musard, during the summer,,
at the Chestnut Street Theatre. Pit will be
floored over. Blessner, leader. Admission, 25-
cents ; 50 cents secured seats.

1843. Oct. 23. Nourrit's Geand Musical Festival.

Mesdames Calve and Lecourt and Messrs. Bles, Lecourt,.
Elie, Trust and Company.

( 257 )

Nov. 24. Musical Fund Society's Concert.

Signora Castellan, Gianpietro, Thorbeck and Trust.

Dec. 14. Musical Funu Society's Second Concert.
Madame Cinti Damoreau, M. Artot, violin.

Dec. 16. Olb Bull's Farewell Concert.

Musical Fund Hall.

1844. Jan. 12. SiG. Casella,

Violinist to the King of Sardinia.
Musical Fund Hall.

Jan. 22. Philharmonic Society.

Ole Bull, Miss Barry, B. C. Cross.

April 10. Philharmonic.

W. V. Wallace, first appearance. Violin and piano.

April 18. Philharmonic Society.

Musiial Fund Hall.

Signora Rosina Picot. Sig. Sanquirico, primo buffo :
/. T. Norton, Master Sconcla.

May 4. Grand Concert.

Musical Fund Hall.
Vieuxtemps, chevalier of several orders, assisted by

his sister Fanny.
Mr. Henry Phillips, Primo Basso Cantante of Her
Majesty's concerts. His first appearance.

1845. Jan. 28. Musical Fund Society's Concert.

Signora Pico, first appearance in Philadelphia ; Sig.
Antognini, T., Sanquirico.

April 17. Musical Fund Society's Last Concert.

Signora Pico, Sanquirico, Rapetti and a grand sin-

( 258 )

fonia, entitled " The Soldier's Dream," by Leopold
Meignen, Esq.

June 20. " Leonoea" Geand Concert.

Musical Fund Hall.

The principal vocalists and grand chorus of 70
ladies and gentlemen and the orchestra of 50 in-
struments. The entire opera will be given.
Leader, Mr. Meignen.

1846. Jan. 1. , Mr. Templbton's Concert.

" All is Lost Xow," and ballads.

Feb. 21. • Leopold De Myer's' Concert.

Nov. 21. Henry Herz,

Composer to the King of France, and Professor to
the Conservatoire, Paris.

Dec. 22. Musical Fund Society's Concert.

Signora Pico and Herz.

1847. Jan. 8. Philharmonic Society's Concert.

Sig. Camillo Sivori, Miss Barry, Capuano.

April 6. McrsrcAL Fund Society's Sixty-Fourth Concert.

Ladies and gentlemen amateurs of this city. This
was about the last Concert given in the Hall, pre-
vious to its enlargement. The platform was then
at the north end of the building.

Philharmonic Society.
Chinese Museum.

Signora Clotilde Barili, Sig. Benedetti and Leopold De
Myer.

June 3. Mr. Lover, author of " Handy Andy," etc., will give
recitations and sing his own songs.

( 259 )

July 22. " Moses in Egypt."

Museum, Ninth Street.

Signora Gerdi, Carranti Vita, Perelll, Novelli, Vita of
the Havana Troupe.

July 30. Grand Vocal and Ixsteu.mental Concert.
Bottesini, Arditi, Lorini, Severi.
Philadplphia Museum.

Nov. 20. Philharmonic Society.

Miss Sanson, Miss Richings, pupil of Mr. Plich
iStvori and Serz.

Dec. 11. Mme. Bishop, Bochsa on the harp.
Musical Fund Hall.

Dec. 30. SiG. SivoEi's Farewell Conxeet.

Museum Building.
Miss Northall, Sig. DeBegnis, yoroiiha, Meignen.

1848. Jan. 1. Mme. Anna Bishop's Farewell Concert.

Bochsa, on the harp ; Mme. Bishop will sing in cos-
tume a grand scena from " Tancredi" and " Gua-
dalquiver."
Musical Fund Hall.

Jan. 26. Philharmonic Society.

Miss Barry and Steyermarkische INfusical Company.

Feb. 2. Steyer.markische Musk.-al Company.

Concert.

Feb. 3. Musical Fund Society's Sixty-Sixth Concert.

Mr. Edward L. Walker's first appearance as a member
of the society, Ladies and Gentlemen Amateurs.

March 1. Philhabmoxic Society.

( 260 )

Halma, violin; Knoop, violoncello; and a young
lady amateur.

March 25. Gkand Farewell Con^cbet of the Italian Opera.

Company.
Truffi, Biscaccianti, Rossi, Amalia Paiti, Benedelti, Ar-
noldi, Rosi, Bailini, Beneventano, Avignone, Rossi-
Corsi, Sanquhico, and chorus of the opera com-
pany.

April 3. Mdsical Fund Society's Sixty-Seventh Concert.
Biscaccianti, Sig. Vietti, T., and Novelli.

May 13. Grand Operatic Concert.

Signorina Fortunata Tedesco, Rosina Pico-Vietti, Sig.
Vietti.

May 23. Philharmonic Concert.

Signorina Truffi, Natale Perelli, Heukeroth, on the
violin, pupil of Spohr.

May 2.5. Mn.sicAL Fund Society's Sixty-Eighth Concert.
Rossini's " Stabat Mater.'^
Perelli, Avignone, and amateurs.

June 6. Concert.

Museum.
Signorina JVuffi, Perelli, Avignone.

Aug. 19. Bottesini and Arditi.

Sept. 20. Vocal and Instrumental Concert.

Miss Northall, Perelli, Avignone, Arditi and Bottesini,'
Grand duo for the violin and contra-basso on airs
from "Puritani," and dedicated to the American
nation by Signori Bottesini and Arditi.

( 2<U )

Oct. 7. Concert.

Musical Fund Hall.

Signorina Patti, Benedetti, Debreul, Arnoldi, Rod,
Valtellina, Giubelei.

Oct. 12. Grand Concert by the Italian Opera Company.

Truffi, Paiti, Benedetti, Arnoldi, VaUellina, Post and
Sanquirico.

Oct. 17. Musical Fund Society's Sixty-Ninth Concert.
Madame and Mr. Laborde, M. Strakosch.

Nov. 22. Mme. Bishop, Perelli, Knoop, cello ; Bochsa.

Nov. 28. Philharmonic Society.

The Ldbordes and Miss Richinc/s, on the piano.

Dec. 2: The Celebrated Moravian Singers.

M'Ue. Lovarny, Herr Zorer, KrauBz, Kaln and Stoepel.
Chinese Museum.

Dec. 3. First Concert of the Germania Musical Society,
from Berlin. Twenty-three professors.
Musical Fund Hall.

Dec. 20. Mr. Wilson's Musical Entertainment.
Musical Fund Hall.

1849. Jan. Grand Musical Festival

of all the artists of Maretzek's opera troupe.

Feb. 6. Concert.

Diston and his three sons on the silver Sax horns
and Sax tubas.

Feb. 9. Musical Fund Society's Seventieth Concert.

Mme. Anna Bishop, Perelli, Bochsa, Diston and Sons,
Sax horns.

( 262 )

March 14. Josef Gwiig'l and his celebrated orchestra of
twenty-six performers.

April 10. Vocal Concert.

^Musical Fund Hall.
Tedesco, Eosina Pico, Vietti, C, Sig. Vietti, T.

April 13. Benefit of the Obchestra op the Musical
Fund Society.
Jfme. Biscaccianti, ^fiss Ricliings and Raima,

May 8. Signora Borghese, Signorina Fctsciotti, Corelli, T.,
Taffanelli and Novelli.

May 24. Musical Fund Society's Seventy-First Concert.
Mr. and Mrs. Laborde, Valentini and Taffanelli.

Oct. 15. ^Musical Fcnd Society's Sevexty-Second Concert.

^fme. Amanda Berton, prima donna ; Mona. Berton,
T., Sig. ]'ita, of the Havana company ; Luigi and
Annibale Elena, violin and piano.

Nov. 24. Amateur Musical Soirees.

Musical Fund Hall.

Ladies and gentlemen amateurs, and full orchestra.
Director Sig. Perelli.

Nov. 25. Mme. Bishop's Farewell Concert.

Perelli, Bochsa, Knoop.

Dec. 8. Musical Fund Society's Seventy-Third Concert.
Truffi, Carranti Vita, Benedetti, Vita and Rosi.

1850. Jan. 3. Amateur Musical Soirees.

Second Soiree.

" Belshazzar," a lyric tragedy in four acts. Com-
posed by Natale Perelli, and performed for the
first time. The third and fourth acts. Director,
N. Perelli.

( 263 )

Feb. 19. Edward Rembnyi,

Hungarian violinist.

June 5. PiiilhaHmonic Society.

Mme. Bertucca, Amaiia Patti, Signora Perrini.

May 30. Musical Fund Socibty's Seventy -Foukth Concert.

Mme. Bertucca, Miss Caroline Pintnrd, Beneventano,
Master Die».

Oct. 16. Jenny Lind's First Concert.

Chestnut Street Theatre.

1851. Feb. 5. Musical Fund Society's Concert.

Signora Truffi-Benedetti, Sig. Forti, Strakosch, Miska
Mauser, Waldteufel.

Catharine Hayes' First Concert.
Musical Fund Hall.

April 25. Parodi's Last Gband Concert.

Patti, Strakosch, H. Millard, the American tenor.

May 14. Musical Fund Society.

Miss Richings, Perelli, Waldteufel, violoncello, " The-
Desert," sung by the Mannerchor Society.

Sept. 25. Parodi's Concert.

Musical Fund Hall.

M'lle. Parodi, AmaMa Strakosch, Leonardi and Master
Charles Schmitz, the extraordinary and youthful
violoncellist. Maurice Strakosch, conductor.

Dec. 19. M'lle. Jenny Lind's Last Concert.

Musical Fund Hall.

Salm, BeUetli, Jos. Burke. Otto Goldschmidt, con-
ductor.

( 264 )

1852. March 4. Philhaemonic Concert.

Madame ThiEon, Mr. Hudson, i\i& Hutchinson fqmily.

March 23. Alfred Jaell.

First appearance.

The late Joseph J. Mickley was in his time one of the
cleverest repairers of musical instruments of the viol class in
this country. His house was the favorite resort of the distin-
guished solo performers who visited this city during the last
generation, and on Sunday mornings it was a sort of rallying
point for the leading musicians and amateurs of this city. On
such occasions the string quartette or quintette would some-
times include such artists as Ole Bull, Nagel, Vieuxtemps,
Miska Hauser, William Vincent Wallace, Knoop, Waldteufel,
Alfred Jaell and Ahrend.

Although these performances were not public, they doubtless
aided materially in creating and fostering a taste for chamber
music of a high order among those of our amateurs who parti-
cipated in, or who were present at these social meetings.

June 3. Pahodi's Last Concert in America.

Musical Fund Hall.
Amalia and Maurice Strakosch, Miska Hauser, violin.

Sept. 23. SiGNOEiNA Adelina Patti.

Musical Fund Hall.

"The Musical Phenomenon," not yet eight years
old, called " La Petite Jenny Lind." Miska Hau-
ser and M. Strakosch.

Oct. 1. Mme. Marietta Alboni's Second Concert.

Signori Revere, Sangiovanni, Arditi, with orchestra.

Oct. 14. Mme. Sontag's First Concert in Philadelphia.

Sig. Badiali, Paul Julien, violin ; Jaell, piano ; Ger-
mania Musical Society.

( 265 )

Oct. 18. Mmb. Heneietta Sontag's Second Concert.
Musical Fund Hall.
Badiali, Pozzolim, Alfred Jaell, Paul Julien.

Oct. 25. Mme. Sontag's Last Concert

but one.

Badiali, Pozzolini, Pocco, Jaell, Julien, Germania.
Conductor, Carl Eckert; Leader, Bergmann.

Dec. 3. Musical Fund Society's Seventy-Eighth Concert.

^Plle. Mina Tourny, mezzo-soprano ; Louisa Tourny,
C. ; ^Plle. Camille Urso, on the violin.

Dec. 11. Mmb. Sontag's Only Concert

on her way South, on which occasion she will give
her services and those of her company for the
benefit of the Musical Fund Society.

1853. March 1. L. M. Gottschalk's Grand Concert.

Mme. Rose de Vries, M. Feitlinger, Hoffman, piano.

April 11. Germania — Grand Concert.

Camille DrsOj violin; Alfred Jaell, ani Young Miin-
nerchor.

Nov. 10. Jullien's Concerts.

Concert Hall.

J/me. Anna Zerr, Koeiiitj, cornet ,a piston ; Peichert,
flute; M. Collinet, flageolet, conductor of the court
balls of Napoleon I. ; ^f. Wuille, clarinet ; M. L(t-
vigne, oboe; Si;/. Bottesini, contra-basso.

Nov. 15. ■ Ji'hien's Beethoven Night.

Dec. 2. Grand Mozart Night.

Jullien, after losing all his music by a conflagra-
tion, died in a lunatic asylum in Paris, 1860. He

( 266 )

was born, 1812. " He did much towards the im-
provement of the taste for music."

1854. Feb. 8. Sig. Cesare Badiali's Farewell Concert.

Signorina Coaiini, of the Havana troupe; Miss
Brenau. ,Slg. Specchi, Herbert. M. H. OroSs, piano.

1855. Jan. 10. Geisi and Mario— Grand Concert.

Musical Fund Hall.

Duo from " Don Pasquale," by Mme. Grid and Sig.
Mario; "Casta Diva," Grisi; "A te o Cara," Qrisi,
Mario, Susini. Salabert; "II mio tesoro," Mario;
"Qui la voce," Mme. Orisi; "Com' e gentil;"
Mario; "Preghiera" from " Mose in Egitto," Grisi,
Mario, Mme. Donovani,. Smini. Conductor, Arditi.

Feb. 2. H. Thorbeck's Private Soirees.

Assembly Buildings.

Messrs. Thein, Flammer, Kammerer, Preiser, Tschirner,
Koch, Stall, Birgfeld and Muller.

April 17. His Third and Last Soiree.

Same performers.

Sept. 21. :Mme. de LaGrange.

Her only grand concert, supported by Signori Bri-
gnoli, Morelli, Amodio.

Sept. 27. Parodi's Grand Concert.

At the Musical Fund Hall.
Anialia Strakosch, Leonardi, Charles Schmitz.

Dec. 1. Musical Fund Society's Eighty-Second Concert.

Miss Hensler, American prima donna. Academy of
Music of New York, her first appearance ; Mme.
Aldini, first appearance; Sig. Brignoli, from the
Italian Opera, Paris, his second appearance in
Philadelphia ; L. 3L Gottschalk.

( 267 )

1856. Jan. 22. Philhahmonic Concert.

Sig. Vietti, Miss Brenan, Badiali, Cq,eeiatore, flute;
Nathans and Rondinella.

Feb. 5. Ole Bull's Geaxd Concert.

Musical Fund Hall.
Signorina Sp'mola, Miss Vail, Schreiber, cornet.

April 10. Musical Fund Society's Eighty-Third Concert.
Mme. LaG-range, BrignoU, Amodio, PereUi, piano.

Nov. 25. Musical Fund Society's Eighty-Fourth Concert.
Anna de LaGrange, BrignoU, Gottschalk.

Dec. 5. S. Thalberg.

Concert Hall.
Mme. Cora de Wilhorst, WeinUch.

Dec. 13. Thalbbrg's Farewell Concert.

Mme. D'Angri, de Wilhorst, Abella, Gottschalk.

Dec. 22. Thalbbrg's Concert.

Musical Fund Hall.
D'Angri, Wilhorst.

1857. April 25. Musical Fund Society's Eighty-Fifth Concert.

Mme. Gazzaniga, BrignoU, Amoldi.

May 28. Musical Fund Society's Eighty-Sixth Concert.
Mme. Isadora Clark, BrignoU, Amodio, H. Appy.

Sept. 25. Grand Concert.

Musical Fund Hall.
Vieuxtemps, Thalberg, Mme. D'Angri, Rocco. '

Nov. 13. M'lle. Frezzolini's Concert.

Thalberg and Aiiialla Strakosch.

( 268 )

Dec. 10. Grand English Concert.

M'lle. Farodi, Vienxtenip.i, Misa Milner, E. Perring,

Dec. 19. D'Anghi axd Vieuxtemps's Grand Concert.
M'lle. Carioli, iSig. Labocetta and Gassier.
Musical Fund Hall.

1)'Angri and Vibuxtemps's Last Concert.
M'lle. (?oj"neaMar, of the Conservatoire, Paris ; Oassier,
Rocco, Perring.

1866. Nov. 13. Batbman Concerts.

Academy of Music.

Mine. Parepa, Brignoli, Ferranti, Carl Rosa.

1867. May 16. Carl Wolfsohx's Farewell Concert.

Oazzaniga, Habelmann, and the Mendelssohn Society.

1869. Oct. 29-30. ^M'lle. Carlotta Patti Concerts.

Academy of Music.

Georgia Ronconi, Hermanns, etc.

1870. Oct. 12. M'lle. Christina Nilsson's First Concert.

Miss Gary, Brignoli. Vieuxtemps.
Academy of Music.

1871. May 23. Abt Male Singing Society.

Musical Fund Hall.
Conductor, M. H. Cross.

1872. July 25. Garde Repcblicaine de Paris.

Concert at the Academy of Music.

Oct. 28. First Bubinstein Concert.

Academy of Music.

Dec. 7. First Concert of the Orpheus Club.

Musical Fund Hal!.

{' 269 )

1873. A^pril 4-5. " The Greatest Concert Combination on Record."

The Rubinstein and Theodore Thomas companies.
Henri Wieniawski.

1874. Nov. 27. Gilmoke's Band.

Miss Anna Thuraby.
Academy of Music.

1875. Oct. 22. M'llb. Titibns' First Appearance.

Academy of Music.

Arabella Ooddard, Emile Sauret.

Dec. 17. Dr. Hans Von Bulow.

1876. Dec. 27. Mme. Essipopf's Concerts.

Association Hall.

Assisted by Mm Palma, prima donna ; Mons. Alfred
Vivien, violin. Dulcken, musical director.

1878. Oct. 4-5. WiLHELMj Concert.

Mme. Carreno, Lazzarini, Tagliapietra.

^Quite a large number of the later singing societies are com-
posed Of Germans and generally of male voices.

About 1869, the Beethoven Society, of mixed voices, was
founded by Mr. Carl Wolfsohn. It was afterwards under the
musical direction of Mr. Michael H. Cross.

About the same time, the Abt Male Singing Society was or-
ganized and gave concerts annually for some years. A pro-
gramme before me, dated December, 1874, contains the names
of thirty-three members. There were some very fine voices
and excellent musicians among them. It was at that time
under the musical direction of Mr. Hugh A. Clarke.

The Cecilian is a successor or outgrowth of the Beethoven
Society, but with a largely increased membership and infused
with a corresponding activity and zeal. They number four
hundred voices, and at their concerts are accompanied by the

( ,270 )

<3rermania, or Theodore Thomas's Orchestra. The Cecilian
has won a high aud well-merited distinction for the excellence
of its performances. Beginning with selections of mis-
•cellaneous music, the society has yearly advanced in con-
fidence and ability, and has produced the following, among
other great works : " The Messiah," " St. Paul," " Stabat Mater,"
^'Samson," "The Creation," "Elijah," "Judas Maccabseus," and
"Israel in Egypt." The society was organized in 1875. Mr.
Michael H. Cross is still the musical director.

The Orpheus Club of male voices was organized in 1872. In
1877 it was incorporated. Michael H. Cross was elected con-
ductor at its organization, and still holds that position. Under
his able leadership the club keeps up its reputation for careful
and discriminating work.

The Philadelphia Jlusic Festival Association was incorpo-
rated June 1st, 1882, "for the purpose of the holding of music
festivals and concerts, and the promotion of musical culture."

Their first music festival was given at the Academy of ilusic
on the 9th, 10th, 11th and 12th of May of the present year,
(1883,) with a chorus of five hundred and forty voices and an
orchestra of one hundred performers. Among the soloists were
Mesdames Gabriella Boema and Sofia Scalchi, Messrs. Topdt and
Eemmertz. The virtuoso, Rafael Joseff}', performed on the
piano.

The musical directors are Messrs. W. W. Gilchrist and
■Charles M. Schmitz.

The list of corporators and members contains the names of
many of the best known professors and amateurs of music in
Philadelphia. The success of their first music festival, and the
•earnest and active efforts of the board of directors, give promise
that the association will be established as a permanent institu-
tion, and more especially for the culture of choral music.

INDEX.

The names of artists in the index indicate Iheir first appearance in this
■city. As the performances are recorded in strictly chronological order they
■can readily be traced.

Addenda, Amateur Opera, . . . 234

"Aida," 173

Aimi5e, Mme., 169

Albani, Miss Emma, 179

Alboni, Alme.,. 76

AmbriS, BmUe 215

American Academy of Music, . .239

'Amilie," 37

Amodio 8S

"Anna Boleyu," 48

Antonucci 129

"Archers," the, 10

Arditi and Bottesini 65

'"Artaxerxes," 39

Austin, Mrs., 16

Avignone 66

Badiali . .

Ballad Operas

" Barbe-Bleue,"

"Barber'of Seville," reception (
its first r0preser>tation, .

Barre

Beaumarchais, .

" Berears' Opera,"

"Belisario,". . ...

Bellini's funeral

3elocca, Anna di,

Beneventano

Beraldi

Bertucca, Mme . . . .

"Betly,"

Bettini

Biacchi

Bign.ardi

Bine di Rossi,

Biscaccianti. Signora, . . .
Bishop, Sir Henry Rowley, .
Bishop, Mme. Anna,
Boema, Gahriella.-. ,
"Bohemian Girl," ...
Bordogni. Slgnorina, . . .
Boslo, Slgnorina, . . .

Bosisio. Mme

Botlardi, .

Braham, . .

"Bravo," the

" Brewer of Preston."

" Bride of Messina,"

Brignoli, .

Sriol, Mme

Brough, Walton and Burton, . .

64

U

.153

. 143

. 165

32
. 80
. 47
. 2U9
. 194
. 66
. 79
. 66
.114

69
.122
. 94
.133

58
. 11
. 57
.226
. 48
. 28

64
.129
. 91
. 38

6<
. 5S
.179

85
.158

CalviS.M'lle

campanini

Capoul,

Caradori-AUan, Mme., . .

"Carmen."

" Carnival of Venice," . .

Carpi

Carr, Benjamin

Carreno-Sauret

Gary, Miss

Castle and Campbell, .

" Cenerentola,"

" Chimes of Normandy,"

Colson, Mme

Conservatoire at Paris. . .
Cora de Wilhorst, Mme.,

Cordier, M'Ue

Cromwell and the Opera, .
" Czar and the Carpenter,'

. 43
.172
.165
. 35
.207
.148
.180

10
.191
. 165
.134

22
.205
. 99
.188

99
.115
.230
. 91

DaConinck, Mr 9

D'Angri 92

DeBeauplan's Troupe 21^

DelHuente, . ., 172

DePaez, Signora 88

"Der Freischiitz." U

" Der WildsehUtz," 117

Didl6e, M'lle. iJantier, 85

"Dinorah," 115

" Don Giovanni," 40

" Don Pasquale," 53

Drayton's Parlor Operas 109

" Due Foscari," ot

Dunlap, William 10

" Elisire d'Amore," .... . .-

" Eliza e flaudio." . . . .

"Etoiledu Nord,"

Exorbitant salaries of vocalists.

Fabj, Sie.

" Falstaff," by Balfe, ,
Fanny Elssler, M'lle.,
Fanii, Slgnorina, . .

Ferou, Mme

Ferri

Florenza,

Formes, ... . . .

Foruasari

" Forza del Destino,"
" Fra Diavolo," . . .
Franklin, Benjamin ,

, 41

21

135

•i32

27
.119
. 41

28
. 21
.105
.101

94.

22
. 128

( ^72 )

Frazer, Mr 48

French Opera Company Ifi

Fry, Edward and Brothers, . 1T4

Fry, William H.. . ... 38

Fursh-Madi, Mme .224

Galassi, 208

Gambati 2K

Garcia's Italian Opera, . . . 13

Garcia, Jr., Manuel, ... 15

Gassier .... .92

Gazzaniga, . . . £8

Geistinger.'Mme . . 218

" Genevieve de Brabant," , . . . . 165
" Gemma di Vergy," . .' . 47

Gerster, Mme., 208

Gianini, 218

Glubelei, Mr .40

" Giuramento," .'iB

" Gli Arabi Nelle Gallie," . , . . 30
" Grande Duchesse," .... 1 .. 150
Grand jubilee, afternoon and even-
ing 71

Graziani, ..... . . . 79

GriEi, Mme., . . ' 83

Guerrabella, Signora , . . 115

■TT '» an

' Gustavus in.,

" Hamlet," . . .165

Handel, . . . . .204

Harrison . . . 80

Hauk, Mis-s Minnie, . . . . 136

Havana Opera Company, . . 64
Hoilbron. M'Ue., . . . 181

Hensler. Miss . ... .85

"Hernani." .54

" Home, Sweet Home," . 10

Hopkinson, Francis, . 7

Hunt. Leigh .6

" II Barbiere di Siviglia," . . 28
"IlPira a," . . . 21

" II Seraglio," 118

Inauguration of the Academy of

Music,., . .88

Incledon and Philips, ... 10

Inverarity, Miss, . 39

"lone," . . . . .122

Irfre . . .129

Irma. M'lle ,. . ,, 153

"Italianain Algeri," 22

Italian Opera in America, . . . 233
" I Vespri Siciliani," 105

Jacques, Eosa,

Jamet

Jenny Lind, . .
"Jessonda,". . .
Johanssen, Mme., .

"Joseph,"

Juch. Emma, .
Junca,.

75
.165

65
.125

90
.118
.220
.105

Eapp Young. Mme.. .
Kemble, Mias Fanny, .
Kuhn, Dr. Adam, .

"La Belle H61ene,
La Blanche, M'Ue

Labocetta

Laborde, Mme.. .

"LaCamargo," . .

" La Donua del Lago," . . .

" La Fille de Madame Angot,' , .

" La Favorite," . . . . .

"L'Africaine."

" La Gazza Ladra," in French, . .
LaCirange, Mme. Anna de. . .

" La Perichole," ..'..'

" La Parodie de Lucia di Lammer-

moor," ...
Laryngoscope, . . .
" La Serva Padrona "
"La Traviata," . . .
"La Vie Parisienne,"
I.efranc,. . .

Le Macon

" Leouora,''W. H. Fry,
"Le Pr(5 aux Clercs," . .

"Le Prophete,"

" Les Cent Vierges," .
" Les deux JourniSes,"
" Les Huguenots."

Leslino, Maria, .,

" Les Nooes de Jeannette,'
"L'CEilCreve," ....
" Les Pres Gervais,"

Libretti

Lichtmay, Mme. . .
" Lily of Killarney," . .
" Linda di Chamouni,"
Litta, Maria, . . ' . .

" Lohengrin,"

Lorini, Signora,

Lncca, Mme ■ . .

" Lucia di l.ammermoor,
" Lucrezia Borgia," . .
"LuLsa Miller," . .
"Lull," . . .

.149'
. 26

. e

.152
.211

92

61
. 213

30
.171
. 50-
,12»
. 25

85
154

108
15
103

.155
.158
.117.
. 48
. 44
.155
.170'
.164

51
. 218
.114
.155
.187
.■138
.162
.140

77

.2or

.178
,115
.169
47
58
79.
53.

Maccaferri . . . 104

•' Maid of Cashmere," . . 35

" Maid of Judah," 32

Malibrau, Mme , in Philadelphia, 14

Mancusi, 113

Manvers, Mr . . 40'

" Maria di Rohan," . . . , 77

Marimon, Mme . . 214

Marini 64

Mario 83

" Marriage of Figaro," ..... 27'

Ma«samiliani . 150

"Matilda di Sabran," 30

■'Matrimonia Segretto," ■ . . . 28.

Maurel ... 17a

( 273 )

Jlay, Miss, her d^but, 95

Mazzolenl, 122

Medori, Signora, .122

"Merry Wives ofWindsor," . . . 119
" Midsummer Night's Dreiam," . 1.37

Mierzwiiiski 224

"Mireille," 127

Moutresor's Italian Opera 21

Moore and Byron on "Otello," . 23

Morelll 85

Morensl. M'lle , . . .115

" Moses in Egypt," 23

Mount-Edgcnmbe, Lord 29

"Mountain Sylph," . 33

Musical Glasses 5-

Musioal Library, 229

Musical Societie.s and Concerts, . 244
Murray. Hon Chas. Augustus, . . 9

Murska, lima di 172

Meyerbeer . . .129

Naddie; Mme .134

Nannetti, , 172

Nicolinl, 219

" Night in Granada," . . . .117

Nilsson, M'lle 165

" Norma." 38

Norton, J. T. S . . 28

" Notre-Dame of Paris," . . . . 126

Nourrit, Adolphe, 131

Novelli, .66

Oldmixon, Mrs.. . . . . .9

Ortolani-Brignoli 122

" Ostralenka," 179

"Otello." 22

Otto, Mme., .35

Palmieri, Mme 193

Pancani .143

Paola-Marie, M'lle., . . .212

Pappenheim, M'lle 189

" Parisina," 67

Parodi, Signorina, . ... 66

Pasta, 201

Patti, Adelina. in Concert 72

Patti, Adeliha, in Opera 105

Patti, Miss Carlotta, 161

Payne, John Howard 12

Pyne. Miss Louisa, 79

Peale, Mr. and Mrs. Franklin, . 9
Pedrotii, Signora, . ... .21

Perelli, 54

Phillips. Miss 86

Piccolomini, M'lle., 100

Piekaneser, Herr, . ... 90

"Pinafore," 208

Pooh, Signora, 135

Poinsot, M'lle 102

Poole, Miss ... 40

Pozzolini, 76

Prince of Wales Ill

"Puritani," 47

" Puritan's Daughter," 157

Ramos, Signora, . ....... 91

Ea'^aglia, sig., 28

Kavelli 216

Rewards of Musical Authors, ... 167

Eeyna, .... 150

Kichings. Miss Caroline 71

"Rienzi," 203

"Kigoletto," '. . . . 92

" Rip Van Winkle," 161

Ristori, 186

Riyaflnoli's Opera Troupe, .' 27

" Robert le Diable," 51

Eocco, 77

"Romeo & Juliet," Bellini, . . . 56
" Romeo and Juliet," . . 148

" Rose of Castile," 137

Rose Hersfe, 157

Rose de Vries, Mme., . i . . 70

Rosi, . . . 66

Rossini, Funeral of, 230

Rossini, M'lle., .... ... 219

Rovere, 85

Rowbotham, Mrs., . . 36

Roze, M'lle .200

"Saffo," . . . 54

Salvi ... 64

Santley, 164

Sanquirico's Company, . . .58

"Satanella," . . 163

Sbriglia .103

Scalchi, Mme., 224

Seguin, Mrs., . . .37

" Semiramide," ... 86

Shakespearian Operas, . . .165

Sheridan, R. B., 12

Shireff, Miss 37

Sinclair, 21

Soldene Troupe, . . 185

" Sonnambula," . ... . 33

Sontag's first concert, . . 72

Sontag, Mme . .76

States, Mrs. Agatha, . . . 152

Stefanl .104

Stefifanone, Signorina 63

Stigelli, 105

•■Sfradella,". ..... . .118

Strakosch, Maurice 110

Sully, Thomas, . 8

Sulzer, Mme., 122

Susini, 109

Sutton, Mrs., 39

Taflfenelli, . . ....... 93

Tagliafico, . '. 91

Tagliapietra, ... 181

" Taneredl," . 20

" TannhSuser," . 125

Tamberlik, 172

Tamburini at Palermo, . . . . . 182
Tedesco, Fortunata 54

•( 274 )

Thilion, Mms. Anua, .
Tiberini,

Titiens,

Torriani, Ostava, . . .

Tost^e, M'lle

" Trovatore,"

Truffi and Benedetti, .

" Un Ballo in Maschera '

71 Van Zant, Mrs

94 Vanzini, Mme., . . .
190 1, Verdi's "Requiem,"
172 ! .

160 ' Wachtel

Willing, Mrs. Thomas,
" William Tell," . . .
Wilson, Mr., and Seguiu.
Wood, Mr. and Mrs.,

.lis

Vachot, M'lle,, . 221

Valerga 216

Valleria, M'lle 214

"Zampa.". . .
Zucchi, Signora,

.IM

.ica

.204

.16S"
,8
97
37
2&

41
.128-