GEMS FROM THE CRUSADERS. Two RONDINOS ON SPOHR'S OPERA, "Die Kreuzfahrer." Pianoforte; by F. Burgmuller. Ditto.

These songs are addressed to the classical amateur. The style is German, and the author's resources are ample and various-strength of melody, knowledge of vocal effect, and a singular unity with the subject of the verses. The best of the set are Nos. 1, 2, and 6. No. 1 is an elegant vivace in E, with a pretty subject, and an appropriate and varied harmonic colouring. The graceful semi-quavered phrase running through the accompaniment adds grace and variety to it. No. 2, an andante in F minor, conveys the passionate reproaches of slighted love. The style is more redundant and declamatory than that of the last song, the writer having relied chiefly on his knowledge of the voice. No. 6, an andante in A, 2-4, is a simple and beautiful melody on a theme-happy loveproverbially well-suited to the musical muse. M. Molique has handled his subject in a manner in every way worthy of it. This is the best song of the set: we regret that we cannot find room for the words, which are elegant and to the purpose. No. 3, an allegretto 6-8, sustained on a running arpeggio of semi-quavers, is a joyous burst of animal spirits. This is the best of the remaining three songs, and is hardly inferior to any of its companions above-named. No. 4, an allegro in E minor, although marked with the writer's usual strength of purpose, is on the whole inferior to the rest. In No. 5 an allegretto 9-8, he has again recurred to his declamatory style, and his knowledge of vocal effect. The song, which is an appeal for peace to an offended fair one, is a full-impassioned remonstrance, and affords throughout an admirable example of fine voicing. Judging of M. Molique from this, the only set of his songs that we have seen, he may fairly rank among the first of the vocal chamber-writers of the day.

Mr. Macfarren is said to be a writer of strict

integrity, but if he may be fairly acquitted of a fault so common as that of helping himself to his neighbour's thoughts, it will not be quite so easy to clear him from the more venial charge of repeating his own. The above very sweet and plaintive melody, an andante in A minor, 6-8, is too much like a song in "Don Quixote," about a weeping willow-we cannot clearly remember the words to warrant any claim to originality. The song, however, is written with the author's well-known insight into "the hidden soul harmony," and the accompaniment is varied on each verse with his usual skill and readiness.

The first of Burgmuller's arrangements from Spohr's (not Benedict's) "Crusaders," is the best; but the theme of the second is the more pleasing one. The pieces, as the title implies, are very simple, easy, and short.

MUSICAL CURIOSITY. By the Little Known. Monro & May, Holborn Bars.

LEAD THE WAY, AND I WILL FOLLOW. Song; written and composed by L. Bendixen.

Ditto.

A SWEET VOICE HAUNTS ME. Sung by Miss Emma Lucombe; poetry by Calder Campbell: composed by Caroline Orger. Ditto.

Napoleon used to say that there was but one step between the sublime and the ridiculous. The "Musical Curiosity" is intended, we are told, to illustrate this doctrine. The reader is presented with a chorale or psalm-tune, remarkable for its beauty and solemnity. Having sung this as adagio, he is requested to repeat it as an allegro, when he is greeted by his old friend "Jim Crow."

It is rarely that we have the pleasure of noticing together the productions of two such talented ladies as Miss Bendixen and Miss Orger. The song of the former lady is a piece of light and graceful vivacity; Miss Orger's is of a more pensive character: each is the production of an elegant fancy.

I LONG TO CHANGE MY MAIDEN NAME. Words by W. H. Prideaux, Esq.; music by E. J. Westrop. Ransford.

A lively song; both words and music worthy of commendation, and a valuable addition to the stock of drawing-room comic songs.

IF MINE EYE BUT GAZE ON THEE. Duet, sung by Mad. Bishop and Mr. W. Harrison, in The Maid of Artois," by M. W. Balfe. Cramer & Beale.

OH, WHAT A CHARM IT IS TO DWELL! Ballad, sung by Mad. Bishop in "The Maid of Artois," by M. W. Balfe. Ditto. Ballad,

FOR THEE, AND ONLY

THEE.

sung by Mr. W. Harrison, in “The Maid of Artois," by M. W. Balfe. Ditto.

These pieces have the usual Italianized and

popular character of Mr. Balfe's music. The duet-an andante sostenuto 9-8, in B flat, accompanied by triplets-is pretty, graceful, and flowing. Of the ballads, that of Madame Bishop is the best; this is a moderato cantabile, in common time. The melody has elegance and character, and is treated and harmonized with the writer's known skill and experience in the use of his resources. The song, we anticipate, will become extensively popular. The balsung by Mr. Harrison, an andantino soste

lad

nuto (common time), is inferior to the other, and presents nothing remarkable.

OR LA SULL'ONDA. Piece brillante, pour la Harpe, sur la célébre Cavatine du Giuramento de Mercadante; par N. C. Bochsa. Chappell, New Bond-street.

This is a fantasia upon three themes, the first being the best. The passages are open, showy, not difficult, and nicely inwoven with the melodies. We can heartily recommend the piece to amateur harpists.

AMUSEMENTS

DRURY LANE.

Mr. Bunn has, with his usual good fortune and judgment, succeeded in securing the talents of Madame Anna Bishop, who has, we expect, brought not a little to the treasury of this theatre, if crowded houses are any guarantee for such a supposition. Balfe's Maid of Artois has been the opera selected for her début, the score having been considerably corrected, and we think greatly improved. This opera, however, has never been a favourite with us, compared with the later works of the same composer; but the opera is literally Isolene, the character performed by our talented countrywoman; not that we would cast any stigma on the talents of the numerous and efficient vocalists who compose this company. In truth, Mr. Harrison is very clever in his character, and displays a greater degree of finish in his acting than we have been accustomed to see emanate from this performer; and we need not add that, consequently, the opera is much benefited. Indeed we could wish to see singers actors, and not, as they generally are in our operatic companies (to use a familiar term), sticks! Mr. Burdini and Mr. Weiss are particularly worthy of our notice, inasmuch as they invariably well study their parts, and improve in their vocal powers. For those of our readers who may not have had the opportunity of witnessing the performance of Isolene, the Maid of Artois, we have a few words: Madame Bishop has not a great power of voice; on the contrary, it is with difficulty that she is enabled to fill the theatre; but this is more than compensated by an exquisite delicacy and feeling, that cannot fail to thrill the hearer with delight. Indeed, in this respect, she is second only to Malibran; only with Madame Bishop this is visibly the effect of art, while Malibran felt deeply from her very soul. With the one it is visibly a refinement of practice, while with the other it is that innate gift which is a part of the possessor. In the ballet department Mademoiselle Flora Fabbri has delighted the crowded theatre with her beautiful impersonation of Mazourka, in The Devil to Pay, and which so delighted the frequenters of Drury Lane during a previous season. The production of a new ballet, called The Offspring

of Flowers, also has given full scope for her powers, which are, in many respects, second to none of the most celebrated performers of the day. One or two of the old operas have been produced on the off nights of the Maid of Artois, in which Miss Rainforth has supported her original characters with an éclat by no means lessened through the powers of her rival for public approbation. Again we congratulate Mr. Bunn on his taste and tact. Surely no one better understands the weak side of the English public than this prince of managers.

PRINCESS'S.

Madame Vestris and Mr. Charles Matthews

have delighted this invariably crowded theatre by their admirable performance in Love's Telegraph, a piece adapted from the French, and of which want of space forbids our giving a detailed account. Too many Cooks spoil the Broth, with a variety of stock pieces, which Mr. Matthews has made peculiarly his own, have contributed to please the audience, and atter a with a musical company before this reaches short recess the Princess's will have opened the public.

THE HAYMARKET.

This theatre opened for its winter campaign early in the past month, and the management has already been rich in performances, as it is in promises for the future. Three new and highly successful pieces have been produced, and before this reaches the eye of our readers we expect a comedy, underlined in the bills, will have appeared: it is from the same pen as the Provost of Bruges, and rumour is already busy with its merits; the title, Look before you Leap'; or, Wooings and Weddings, seems to us a very happy one, and from Mr. Lovell's great and versatile genius the highest expectations may fairly be entertained. Moreover, the whole strength of the company is enlisted to support it. Mrs. Glover, Miss Fortescue, Miss Julia Bennett, Farren, Webster, Buckstone, Hudson, &c. The three pieces which have already won a favourable verdict, and drawn crowded houses, are The Fortune Hunter; or, a Morning at Margate, in which Messrs. Hudson and Buckstone support the principal characters, and keep the audience in a roar of laughter; the former re

SADLER'S WELLS.

This theatre continues to prosper under its new arrangements. Romeo and Juliet has been repeated nearly twenty times, the attraction of Miss Addison continuing undiminished. We have seen her again in Juliet, and are confirmed in the opinion that only time is wanting to rid her of the few defects and crudities which we have named in her acting, when she will fulfil the promise she already gives of being a great

actress.

On Thursday, the 16th, The Stranger was produced, for the purpose of introducing Miss Addison as Mrs Haller. The dearth of dramatic interest in this play, its vapid sentiment and pointless dialogue, have made its continued popularity matter of surprise to many. It is to the credit of Miss Addison that she is always best where there is most scope for her exertions. The dialogue in which Mrs. Haller reveals herself to the Count's sister, and the last scene, are the only opportunities, and here Miss Addison acted with truth and feeling: altogether, however, we prefer Mrs. Warner in this part, and fortunately her youthful successor can afford to let us say so. Mr. Phelps, in the Stranger, is

too well known to need comment. Mr. Marston, as the Count, and Mr. G. Bennett, as Tobias, the old cottager, were as effective as usual. Miss Cooper had nothing to do but to look well, a matter which she always takes due care to settle with her toilet.

The revival of Shakspeare's Measure for Measure, and Miss Addison in Mrs. Beverley, in the Gamester, are to be among the novelties of the forthcoming month; meantime, we hope that we are to have an opportunity of seeing this young lady in comedy as well as in tragedy. We suspect, from the archness and vivacity with which she delivers the few touches of comedy in Juliet and the Lady of Lyons, that she will turn out to be as gifted a votary of Thalia as she is of Melpomene.

There is scarcely a theatre in London which so well repays a visit as this.

LYCEUM.

The only novelty at this theatre, during the past month, has been the production of a farce called Which Mr. Smith? It is full of broad fun, and claims long and continued plaudits.

place to another spectacle, which we have not space to notice. To Parents and Guardians has had a long run of success, and still holds possession of the boards.

OLYMPIC.

theatre opened with Knowles' Hunchback: in On Saturday, the 17th of last month, this which Mr. Henry Betty played Master Walter; Mr. Walter Lacy, Lord Tinsel. Regarding Mr. Mr. Leigh Murray, Sir Thomas Clifford; and Betty's Master Walter we can speak in high praise; though we express our opinion that it was rather too subtle and mysterious. Mr. Walter Lacy, as Lord Tinsel, was greeted with loud applause, as he well deserved; for his impersonation of this character was one of, if not the best we have witnessed. There was a quietude in Mr. Leigh Murray's Sir Thomas Clifford we had not expected from this young artist, who has greatly improved since we saw him at the Princess's. He promises to hold a high position in the drama, and will do much if he apply with care and diligence: there is the right sort of thing in his acting, which only wants cultivation to make it of a character such as shall gain for him a high repute. Mrs. Gordon, as Julia, was too melo-dramatic to please us; but Mrs. Walter Lacy's Helen (her original character) was superb; it has not abated one jot from its former excellence, and consequently, as it ever has done, gained immense applause. Of Mr. Bolton's burlesque, called The Civil War of Poetry, the less we say the better for the author. We sincerely hope to see it swept from the boards, and something reasonable produced in its place.

NEW ITALIAN OPERA HOUSE.

A cloud of rumours are, of course, abroad upon this subject; all, however, that is certainly known is, that Covent Garden Theatre will be opened for the assigned purpose as early in the season as possible; that the audience-part of the theatre will be rebuilt and enlarged; that Signor Costa will be the conductor; that engagements are pending, if not concluded, with Grisi and Mario; that the chorus will consist of sixty effective voices; that Mr. Lumley's orchestra have, excepting about a dozen individuals, left him to join the new adventurers; that the boxes will be all private, and that Mr. Beale, of the house of Cramer and Beale, will be the ostensible head of the undertaking. In addition to these facts, it is said that the Court will support the new theatre (yet surely not desert the old one?); and we have excellent authority for stating also and here is the point upon which success must mainly depend-that the terms of the subscription, and of nightly admission to the pit and galleries, will be as low as possible. The capital to be sunk, it is said, will be im

mense; and the agency system, upon which the Italian Opera has been so long conducted, will not be permitted. Such of our readers who may not know what this system is, are informed that an agent takes a certain number of boxes at the beginning of the season, at the regular terms of the subscription; these boxes he lets at an advanced price on nights of more than ordinary attraction. We have heard that when the Emperor of Russia was here, and visited the Opera two or three years ago, the agents' boxes opposite the imperial one were each let at fifty or sixty guineas a night. The above are briefly the facts and the best accredited rumours on the subject of the new theatre; meantime, if the Genius of the English Drama is to be discarded for ever from its legitimate home, the national theatres, and the Muses of Music and of Dancing enthroned in its place, it is gratifying to see that

the enterprise is to be conducted with a spirit suitable to its importance-to the wealth, refinement, and general intelligence of the classes who, we trust, will be appealed to for support, and to the national character of the undertaking; for we observe that it has attracted the notice of the Parisian Journals; and should the scheme be successful, it will, in all probability, be soon followed by similar ones in the great provincial cities; so that the opening of the new Italian Opera House may be, in some degree, regarded as the beginning of a new era in the history of music in this country. At the same time we are among those who appreciate the skill and spirit and discretion with which Mr. Lumley has conducted the Italian Opera in the Haymarket; and having many doubts if London can support two such establishments, confess that our sympathies go with the time-honoured house.

It is a modification rather than a striking change that I have to notice in the brims of chapeaux and capotes; both the crown and the brim will remain horizontal; but the latter a little deeper in front, and brought more forward, has a round open shape, peculiarly becoming; it is entirely different from the Pamela or demiPamela, as, instead of standing out from the ears, it closes moderately, but in such a manner as not to crush the hair or the trimming of the interior of the brim. Velvet, satin, and velours épingle, are the only materials that have yet appeared for chapeaux; but some fancy ones will be brought forward as the season advances. A good many velvet chapeaux-dark blue, dark green, grey, and black-are lined with velvet of different shades of red, from pale pink to cherry colour, but they are not so numerous as those composed of one colour only: the former are trimmed with feathers generally of the colour of the chapeau, shaded or tipped with that of the lining; there is either a bouquet of three feathers of different but moderate lengths, or else two rather long ones: willow plumes are little seen. Where the chapeau is entirely composed of one colour, the feathers are frequently of a lighter shade of the same hue: I shall cite, as the most admired of the latest that have appeared, those of deep blue velvet; the interior trimmed with pink satin brides, and the exterior with two small bouquets of drooping feathers to correspond, placed on one side: some others of partridge grey velours épinglé; the interior trimmed with tulle and pink ribbon, and the exterior with a bouquet of petites plumes to correspond. Black lace is a good deal employed in trimmings. Several capotes of emerald and apple-green have the material laid on in folds round the brim, and each ornamented with narrow black lace

set on with very little fulness; others, with the material laid on plain, are decorated with a black lace drapery, partly disposed on the crown and partly on the brim; knots of groseille velvet mingle with the lace: the interior is trimmed with tulle roses. Some velvet chapeaux are trimmed with ribbon only; it is arranged in knots and coques of a novel form; but this style of garniture, though pretty and tasteful, is not, I think, likely to be much in vogue. A few velvet chapeaux have velvet brides of the same colour, or else of a striking hue; they look very well in satin, but I think they are too heavy in velvet. Lace is very much employed for halfdress chapeaux; some of the most distingué are composed of black velvet; the crown is partially covered by a peinte de fichu of black lace, the ends of which intermingled with velvet biais form a trimming at each side; some others of oiseau, vest lumière, or azure blue velvet, or velours épinglé, are decorated with a pointe of white blonde lace thrown over the crown, but in a more careless style of drapery; the border is a very light pattern; the ends are intermingled on one side with the coques of a knot of ribbon, and are attached on the other by a fancy flower with buds and foliage. Some half-dress capotes, that were much admired a few weeks ago, were composed of ribbon with an edge in imitation of blonde lace; these are now superseded by others, half guipure, half satin; they are always trimmed with flowers of a small but brilliant kind. Ribbon is as yet moderately employed in the garnitures of chapeaux, but it is expected that it will be a good deal used in other departments of the toilette. Long floating ceintures introduced, or rather revived, some time ago in evening dress, will, it is expected, be continued in very broad rich ribbon, called ceinture scarfs: it is said that