THE DRAMA.

KING'S THEATRE.

THOUGH the parallel may appear rather ludicrous, yet we cannot avoid comparing this theatre to some fen-farms, which, if productive once in every four or five years, pay enough to enable the tenant to bear the losses he sustains during the unsuccessful intervals. Now and then we have a good season at the Opera House, but it comes about as often as a fine summer, once in an Olympiad, and helps us in our musical chronology, as the celebration of certain games assisted the Greeks in marking the periods of their history.

The last season will long be remembered in the annals of this theatre; the patronage of the beau-monde was never more lavishly bestowed, and the receipts have seldom been exceeded; yet the performances were unsatisfactory, and a heavy list of debts, which will never be discharged, were left, to the serious injury of numbers of deserving persons, and, we may almost say, to the disgrace of the nation itself. But let the blame of all this fall on the right head, on Signor Benelli, who, without any one qualification for the office, undertook the management of the establishment, encumbered it with extravagant engagements, in order that he might profit by the commissions he received on them, involved the whole theatre in confusion, and then decamped, after having raised money here, as he had done in various other places, by every sort of means, and without the most distant prospect, or the slightest intention of ever paying his creditors a single farthing in the pound.

In consequence hereof, the lease of the King's Theatre for the only remaining year granted by Mr. Chambers, has been thrown back on the hands of Mr. Ebers, who, to protect himself against the injury which he would unavoidably suffer were the house not opened to the public, has again embarked in the enterprise, and commenced his undertaking by circulating in the fashionable world the following note:

King's Theatre, February 1st, 1825. "MR. EBERS begs leave most respectively to acquaint the Nobility and Gentry, Subscribers to the Opera, that, encouraged by the advice, end supported by the patronage, of many Personages of the Highest Rank, he has resumed the Lease of the KING'S THEATRE for the present Season, and that it will be opened on Tuesday next,

the 15th of February, under the direction of Mr. AYRTON.

"The following Performers have been engaged during the short interval that has elapsed since the Theatre returned into the hands of MR. EBERS; and under the very peculiar circumstances of the Establishment he hopes that the annexed list of those with whom arrangements have already been made, and of others with whom treaties are pending, will be considered as a pledge that the Italian Opera will loose none of its lustre during the approaching Season.

"For the Opera-Madame Ronzi de Begnis, Madame Vestris, and Madame Caradori ;-Signor Garcia, Signor Curioni, Signor Begrez, Signor Remorini, Signor Porto, Signor Crivelli, Signor Di Giovanni, Signor Rubbi, and Signor De Begnis.

"The Chorus will consist of Thirty-six Voices. "Leader of the Band, Signor Spagnoletti; Composer and Conductor, Signor Coccia; Poet, Signor Stefano Vestris.

"For the Ballet-Monsieur Charles Vestris, Madame Ronzi Vestris, Monsieur Coulon, fils, Mademoiselle Legros, (to whom engagements have been sent.) Monsieur Le Blond, Mademoiselle Julie Aumer, Mr. Boisgerard, Mr. Venafra, Mr. Bertrand; Made、 moiselle M. Gladston, Mademoiselle Le Court, Mademoiselle O'Brien, Mademoiselle L. Colson, Mademoiselle Laura, Madame Spitalier; with an improved and augmented Corps de Ballet.

The theatre, however, did not open on the appointed day, on account of the illness of a principal performer; and when, at length, all persons engaged were ready to make a commencement, the Lord Chamberlain, at the instance of the Secretary of State for the home department, interposed his authority, and suspended the license that he had granted, till the building, which rumour stated to be in a very unsafe state, should be surveyed by Messrs. Soane and Smirke. After a careful examination of the premises, these gentlemen reported that it would be necessary to make considerable repairs in the north wall, which would require about three weeks to complete. In consequence of the unavoidable delay thus occasioned, Mr. Ebers, at the pressing desire of many subscribers to the opera, has, it is said, been induced to engage the Haymarket theatre for the first few nights, and there to give such operas and ballets as the limited dimensions of that stage, orchestra, &c., will allow, till the more splendid and appropriate building is prepared for the reception of the public. We believe this report to be true, though we cannot vouch for its correctness, as no announcement to such an effect had been made when our present Number went to press.

DRURY-LANE AND COVENT-GARDEN THEATRES.

No new musical drama of any kind has been produced at either of these houses since our last report; but both theatres have exhibited real scenes that are sufficiently humiliating to the nation; scenes that must be attended by many evil consequences, but which we hope may be followed by one good effect, and teach us to estimate the comparative morals of other countries with rather more liberality than we have hitherto exhibited in judging of foreign habits and manners.

ORATORIOS.

These Performances are to be divided between the two winter theatres this year. They commenced at Covent-Garden on Friday the 18th of last month, when a considerable portion of Judas Maccabæus was performed, together with a miscellaneous act. Some parts of the fine oratorio of Handel were well executed; others were much less fortunate, and upon the whole we cannot bestow much commendation on this evening's entertainment; which, nevertheless was not entirely without amusement, thinking, we are bound to conclude, that the various forces in for the Superintendent of the oratorios at Covent-Garden, the orchestra wanted more generalship than either the leader or conductor, (two able men) could bring into the field, and perhaps not unwilling to make a little display, posted himself in the very front of the action, where, brandishing a truncheon in his hand, he laboured hard to make the troops move together: but he strove in vain; they were, very likely, raw, they probably wanted drilling; and moreover, to confess the honest truth, as this was the first time that the superintendent had ever essayed to command, it is possible that he did not inspire the ranks with so much confidence as he seemed to feel in himself, or as they might have felt in a veteran.

The chief performers at the Covent-Garden Oratorios are, Miss Paton, Mrs. Bedford, Miss Love, Miss Graddon, Messrs. Braham, Sapio, Pearman, Bellamy, &c. The leader is Mr. Mori, and the conductor Mr. Wesley.

PHILHARMONIC CONCERTS.

PREVIOUSLY to the re-commencement of these concerts, the Philharmonic Society had three private meetings in the months of January and February, for the purpose of trying, with the full orchestra, new compositions, and deciding on their fitness for public performance. Amongst these were, a symphony by Mr. Cipriani Potter, an overture by Mr. Goss, Weber's overtures to Preciosa and Euryanthe, and a Grand Symphony recently composed for the society, by Beethoven. All of these we shall

have to notice when they are regularly before the public. But much curiosity having been excited by the latter composition, from the pen of so great a master, we shall anticipate in part our regular criticism on it, by observing, that it manifests many brilliant traits of Beethoven's vast genius; that it embodies enough of original matter, of beautiful effects and skilful contrivances, to form an admirable symphony of ordinary duration: but that unfortunately, the author has spun it out to so unusual a length, that he has " drawn out the thread of his verbosity finer than the staple of his argument," and what would have been delightful had it been contained within moderate limits, he has rendered wearying by expansion, and diluted his subjects till they became weak and vapid. When we add that the time which it is calculated this composition will take in performing, cannot be much less than an hour and twenty minutes, our readers, though they have not heard it, may almost judge for themselves of its inadequacy to fix the attention of any audience, or to produce such an effect as the admirers of Beethoven must earnestly wish.

The first concert of this season was given, at the Argyle Rooms, on Monday, February 21st. The following is the programme of the performance.

Leader, Mr. KEISEWETTER.-Conductor, Sir G. SMART. The two sinfonias performed in this concert, are less known than most of the other orchestral compositions of the same authors. That by Beethoven has few traits that strike generally, and at once, but possesses much to please the true connoisseur; it is written carefully, and betrays none of those eccentricities that are often at variance with established rules. The other, which is the eleventh of those composed for Salomon's Concerts, is much more airy and popular in its style; the andante of this, in G, is one of the most elegant of Haydn's productions; how beautifully the first violins sing the melody,

how ingenious and effective the accompaniments of the other instruments,-and how masterly the climax! Haydn, says a modern writer on music, begins to be laid on the shelf; an assertion in which we cannot acquiesce. Grant it, however, to be true, he is only where Milton has long been placed, by a majority of those who are denominated well-educated persons. But do the real admirers and judges of poetry and music consign either of these great geniuses to darkness and dust? certainly not, for true taste recognises a standard, and is never swayed by fashion. We admit that in the indulgence of a sense, satiety may be produced, and indiscreet zeal is too apt to force a composer before the public so often, as to excite an ennui that is frequently mistaken for a change in opinion.

Bernard Romberg's fine overture we have more than once had occasion to notice, in our remarks on these concerts. The novelty of the evening was the overture to Weber's grand romantic opera, Euryanthe, a very bold, imposing composition, in which the author again shews how plentifully he is stored with original ideas, and how well he understands musical effect. To comprehend thoroughly the present work, it must be often heard, and herein it differs from the overture to the Freischütz, which stikes at once indeed the latter is the superior production of the two, though we are not disposed to compare them invidiously; both proceed from the mind of a great master. The charming quintett of Mozart, had ample justice done it by Mr. F. Cramer: the strong feeling it excited, and the applause which every now and then murmured from each auditor, shewed that, whatever state musical taste may be in elsewhere, it is in full vigour among the subscribers to the Philharmonic Concerts. We cannot pass this without mentioning in terms of praise, Mr. Moralt's judicious performance of the viola part. The violin pot-pourri displayed all Mori's talent on this instrument; the composition is of no ordinary kind, though we are heartily tired of the meagre air Partant pour la Syrie, which is embodied in it. The comic duet, sung admirably by Signor and Madame De Begnis, is one of the best things of Mosca that we ever heard. The productions of this modern composer are generally very flimsy, and only fit for the minor Italian theatres. The scena of Cimarosa is one of the finest of his works, and was sung with vast energy and true feeling. Mr. Sapio, who was literally called out of his bed to supply the place of Signor Garcia, proved that his powers are soon awakened into action. In the hurry of the moment it is difficult to make a good choice, otherwise, doubtless, Mad. De Begnis and himself, would have found something less common than La ci darem la mano, which looses half of its effect when removed from the stage.

The whole performance proved the unabated excellence, and the enthusiasm of this fine band. While the Ancient and Philharmonic Concerts last, and are properly managed, music will be in no danger of sustaining any permanent injury from the caprices of fashion; although there will always be some to cry out, that Handel is gothic, and Haydn superannuated.

PETER WINTER, a veteran in his art, and the ablest | living dramatic composer in Germany, is one of the few eminent German musicians who have lived to see the liberation of their country from the oppressor's yoke, and its return to the halcyon days of peace. Winter has also had the personal good fortune of being in the service of a prince whose greatest pride is the patronage of the fine arts. The enlightened king of Bavariawhose capital is so illustrious from the large assemblage of brilliant talent in all departments of literature and art, which has gradually gathered there was not merely satisfied with placing Winter, his principal musician, above the every-day difficulties of life, but he also rewarded his merits with high honours and dignities, by first conferring knighthood on him, and then raising him to the rank of nobility.

Peter von Winter, chapel-master royal to the king of Bavaria, and Knight of the Order of Merit, was, according to several German biographers of the latest date*, born at Mannheim, in the year 1755; other writers, however, namely, Gerber, Choron, and some English biographers, state him to have been born at Munich, in the year 1758. His father was a brigadier in the Palatine guards, and it was probably owing to this peculiar employment that he could take little share in the education of his son; but as he evinced at an early age strong symptoms of a natural genius for music, he was placed under the court musician Mair, to acquire the first rudiments of that art. His instrument being the violin, he subsequently took lessons from W. Cramer, the father of Messrs. J. B. and F. Cramer, who was first violin at the court of Mannheim, from 1750 to 1770; and under this excellent master, he made such rapid progress, that he was admitted into the elector's orchestra at the early age of ten. Here he soon distinguished himself on several instruments, but more especially on the violin, which had ever been his favourite.

The higher department of the art, harmony and composition, he studied, as far as the latter can be taught, under the far-famed Vogler; and no mean reputation accrues to the venerable Abbé, when upon the list of his pupils are found three such names as Winter, Carl

The authority for this date which we most rely on, is the following:-Baierisches Music-Lexicon, von F. J. Lipowsky, Munich,

M. von Weber, and Mayerbeer, the justly-admired composer of the opera Il Crociato in Egitto.

Winter had by this time risen so high in the estimation of his sovereign as a musician, that in the year 1775, at the opening of the German theatre at Mannheim, he obtained the honourable appointment of director of the orchestra. This situation he also retained at Munich, when the elector's court was removed from Mannheim to that capital. Lipowsky states, that in the year 1788, the elector Carl Theodor appointed Winter his chapelmaster, and that he at the same time desired him to compose, for the carnival at Munich, the opera of Circe, which, however, was never performed.

The first compositions that made Winter's name known, were his Ballets. After these had stamped his reputation, he began to write concertos, symphonies, quartettos, and many pieces of church music; by these various musical exercises, he not only acquired great readiness, and a tact for composing, but also that particular skill in the management of instrumental accompaniments, and the treatment of vocal parts, which render his finest productions so characteristically beautiful.

The master whom Lipowsky names as having initiated Winter into the arcana of his art, and as having finished his musical education, prior to his many professional journeys into foreign countries, is Salieri, styled by him the first classical chapel-master in Europe.

But although Winter travelled much, both in his own and other countries, yet Munich always was his principal home, and the city to which he was most attached. His musical wanderings have, indeed, been so frequent, and of such extent, that he may be said to have past years on the high-roads of the continent; and if the immense number of his works be considered, it is difficult to imagine how he found time for either, much less for both of these pursuits. He has several times visited Italy at the invitation of the theatres of Venice and Naples; several times Paris, and once London. His first professional tour in Italy occurred in the years 1792 and 1793; and then it was, and not till then, that he became thoroughly acquainted with vocal music. It has been remarked, however, that he always retained his own peculiar style of composition, and he composed pieces in the same original manner at Paris as he did in London, Venice, Naples, and other cities, with the least possible sacrifice to the taste of the public, and the spirit of the age. K

of his operas, and indeed of his numerous works-was brought out. The gay Viennese, to whom whatever is light, joyous, and easy, is always more acceptable than the grave and the profound, considered that beautiful opera to be" too pathetic," and it did not, therefore, at first meet with the success, which it has so decisively acquired since, on the stages of almost every capital in Europe.

In the month of January, 1800, his grand serious opera of Montalban was performed for the first time at Munich; and in the summer of 1801, he resided during six months at Paris. Early in 1803, he made a second journey to that capital, for which, in the course of the preceding year, he had written his next best opera, Tamerlan, to French words. Choron in speaking of this magnificent production, characterizes Winter as "un composi teur énergique, riche, abondant, dramatique, et toujours local dans sa musique et dans ses motives."

After a short stay at Paris, he came to London. Here he remained till the end of the year 1804, after having acquired the highest honour and reputation by the operas Zaire, Proserpina, Calypso, Castor and Pollux; and by the extremely successful ballet of Orpheus.

In 1806, he once more took the road from Munich to Paris. In March, 1817, the journals of Venice announced his departure with regret, softened, however, by a promise to furnish two serious operas for their theatre. Of those which he afterwards wrote for Italian theatres, and Italian tastes, none was so well received as his Maometto, an Opera seria, produced but a few years ago.

In speaking of Winter generally as a composer, it must be allowed, that from many years' experience and study, he possesses in particular, a profound knowledge of whatever belongs to the voice; and that he understands better how to adapt compositions to its compass and power, than any other living composer. His last voluminous work, published only a few months ago, A Treatise on Singing, in 3 vols. folio, shows with what diligence he must have applied himself to this important branch of the musical art. As a dramatic composer, he has been deservedly extolled for grandeur of declamation, and effective instrumental accompaniments. Many of his airs in the Opferfest, in Proserpina, and Tamerlan, vie in beauty with the most favourite productions of Mozart ; and in several of his overtures may be discerned much of the spirit and fire of Beethoven.

The catalogue of his works cannot fail to create surprise. Gerber, whose dictionary comes down only to 1813, enumerates thirty operas (including Calmal), and since then he has produced several new pieces. Besides these, he has written many grand masses, Offertoria, Graduales, a Requiem, twelve or more grand Cantatas, among which Timoteo, or the power of music, is most celebrated; concertos for single instruments, overtures, orchestral symphonies, including the celebrated grand symphony with chorusses, for the solemnization of the battle of Leipsic, 1813, not to enumerate at least two hundred other pieces-single songs, serenatas, quartetts, quintetts, and septetts, for stringed and wind instruments; which prove him to be no less industrious, than he is productive and full of genius.

This venerable man, with seventy winters on his head, is yet in health, and in active possession of his fine facul

II. FOR THE THEATRE.

1. Bellerophon, Melodrama for Mannheim, 1787.
2. Helena und Paris, for Munich.
3. Psyche, German Opera.

4. Circe, Opera seria for Italy.

5. Leonardo und Blondine, Melodrama, to the text of Bürger. 6. Cora und Alonzo, ditto.

7. Armida, Melodrama with Chorusses, in 3 acts.

8. Der Bettelstudent, (The Poor Student,) Operette, Vienna. 9. Orpheus, Pantomime with Songs.

10. Das Hirtenmadchen, (The Shepherdesses,) Operette. 11, Sherz, List, und Rache, (Mirth, Cunning, and Revenge,) Operette.

12. Cato in Utica, Opera seria, for Venice, 1791. 13. Antigone, Opera seria, for Naples, 1791. 15. Armida und Rinaldo, Melodrama, for Vienna, 1793. 14. 1 Sacrificj di Creta, Opera seria, 1792, for Venice. 16. I Fratelli rivali, Op. buffa, 1794, for Munich. 17. Ogus, osia il Trionfo di bel Sesso, Opera buffa, 1791, for Prague.

18.

Die Sommerbelustigungen, (The Delights of Summer,)
Ballet, for Berlin, 1795.

19. Das unterbrochene Opferfest, (The Interrupted Sacrifice,) Operette, Vienna, 1796. This Opera has been arranged in Germany, for nearly all instruments, a proof of its popularity in that country.

20. I due Vedovi, Opera buffa, 1796, Vienna. 21. Die Thomasnacht, Operette in 2 acts, 1795, for Bayreuth. 22. Die Pyramiden von Babilon, as the second part of the Zauberflöte.

23. Eliso, Opera for Vienna, 1798. 24. Das Labyrinth, ditto; one of his most successful works. 25. Der Sturm von Shakspeare, for Munich, 1799. 26. Maria von Montalban, Opera seria, 1800, Munich. 27. Tamerlan, Opera, with French words, for Paris, 1802, where it was received with great applause.

28. Castor und Pollux, Italian words, for London, 1803. 29. Der Frauenbund, (The Female Union,) Opera, for Munich, 1804.

31. Die Blinden, Opera von Holbein, 1810, is much praised. 30. Colmal, Grand Opera, for Munich, 1809. 32. Calypso, Opera Seria, for London, 33. Proserpina, ditto, ditto. 34. Zaira. ditto,

ditto.

35. Maometto, ditto, written a few years ago for Italy, and received with the most flattering applause. Die Pantoffeln (the Slippers), Opera, performed at Ham36. Etelinda, one of his latest Operas, performed at Milan. burgh without success.

87.

38. I due Valdomiri, also one of his latest Operas, performed

at Milan.