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THE ENGLISH OPERA HOUSE letters on his face, and he is as que 'is one of the pleasantest of all pos- rulous as hard work and one meal sible places.' There is Miss Kelly a-day can possibly suggest or excuse. there, who is enough to satisfy the We wonder that he has never been most fastidious of critics, be it in engaged at one of the winter theatres. comedy or tragedy, melodrame or He has something of the quality of farce. She has not the full sweep of Liston about him, but without that tragedy, perhaps; and falls short in actor's fine spirit of burlesque, and stature; and has a voice less powerful without that power of filling up a than Mrs. Becher (Miss O'Neill); character, by bye-play and high cobut her powers of pathos are, to our louring, which Liston possesses. Inapprehensions, greater, and her ex- deed he carries his originality a little ercise of them more legitimate and too far sometimes, and forgets the true. She acts a dumb or a blind boy advice of the Prince of Denmark to in a way that makes us forget that the players. any sense is wanting or imperfect, or We will not trouble our readers rather sheds such a grace upon in- with an analysis of the petite piece firmity as to make it unpleasant no called “ Love's Dream,which has longer. She plays a scene in “ Inkle been presented at this theatre ; but and Yarico” in a manner more heart- we will assure them that it is very rending than we have ever seen; and light and pleasant, and that if they the trembling earnestness of her voice want an hour or two's amusement, is, beyond

comparison, more powerful they cannot do better than see this, than the stately periods, or artificial and the new farce of “ Twopence, shrieks of more highly reputed ac- which follows. The first is the story tresses. In comedy she is quite un- of a lover's quarrel, which ends in the rivalled in the present day; and there usual manner. Mr. Pearman is the is no one in our recollection, except lover, and Miss Kelly the “ admired Mrs. Jordan, who can compare with Miranda” (or rather the Cecilia Dorher. Besides Miss Kelly, there is mer) of the piece. They misunderWrench, the most easy of actors. He stand each other, and pout and quarcomes on and goes off like an old rel. The lady is affianced to Mr. glove. If he never stimulates you Frederick Easy, (what a name for much, he at least never fatigues you. Wrench, who acts Mr. Easy!) and He has all the colloquial pleasantness yielded up with sighs and a torn heart of an acquaintance, and never ob- by Henry Morton (Mr. Pearman), trudes a disagreeable topic. No one who sings his woes melodiously, but can be more merry than he, unless it commits mighty havoc with the diabe Harley, who generally follows him logue, Simon (Mr. Easy's servant) on the stage, and is either servant, or is played by Harley, who sleeps, pedagogue, or apothecary, as circum- sorely against his inclination, in stances require. This latter actor is a haunted room, which Miss Cefuller of mirth than any man in our cilia Dormer, who walks in her memory: he seems restless under his sleep, has made “holy ground.” Siweight of animal spirits; and goes off mon has a reasonable quantity of sulike a bundle of crackers, joke after perstition, and has an utter aversion joke, sudden, startling, and irresistible. to ghosts and gunpowder. To the latIn calm contrast to Harley, may be ter he has become averse, from the placed his compeer Wilkinson, who is circumstance of Mr. Easy, who is a as indolent as the other is spirited and “good shot,” having killed his horse uneasy. He seems always to be in under him:-to the former he has the “ passive mood,” to be swayed innate objections. The principal to and fro by the dialogue, and to give scene in this piece, is one wherein himself up to the wit of the piece, Miss Kelly plays the somnambulist, like one who is helpless. But he is and discourses touching certain points the receptacle of a good deal of hu- which are absolutely necessary for mour; and the fun oozes out of him the proper termination of the love as surely, though as slowly, as the disputes. We must own that she drops come from the "

serpent-pipe" acts very excellently in this, although in the process of distillation. He we think it a pity that she has so plays a charity boy capitally: hunger much to say. The hush and scatterand discontent are written in plain ed exclamations in the scene of Lady


pare Mr.

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Macbeth, have far greater effect than has nothing to do with words we the long conversation which we hear admire his stature, his frowning, in “ Love's Dream ;"_but compari- “awful as Jove,”-his dumb explasons are odious; and we will not com- nations, his menaces, his appeals to

(we do not know the heaven ;-but when he speaks, the author's name) with Shakspeare. charm is broken. He always reTwo-pence," is a lively bustling minds us of the terrible Pizarro. But little farce, and is, as it justly an- of Mr. Rowbotham, who enacts Capt. nounces, as broad as it is long” It Dashington, and such beaux,-or of is written by a very lively young Mr. Pearman, whom dialogue does writer, Mr. Peake, who was the au- not suit so well as song, what shall thor, as will be recollected, of a very we say? To the one, as to the other, laughable piece, called, “ Amateurs we may apply the lines of Porsonand Actors," which was played last (keeping in mind Mr. T. P. Cooke's season with great success. Mr. Peake similitude) has a good deal of the true spirit of Of Alonzo we've only this little to say, joke in him; and burlesque comes His boots were much neater than those of easily, as well as pleasantly, off his Pizarro. pen. There is something of this even in the dramatis

A young debutante, of the name of

personæ; and the alliteration falleth sweetly on our

Forde, has appeared as Polly in the ears-for instance:

Beggar's Opera. Polly is not to be Orpheus Bluemold (more fond of his Bas- singer, and Miss Forde is as yet in

played but by an accomplished soon than his business), Mr. Harley. Roderick Rappington (not worth a penny),

experienced and young. Her style Mr. Wrench.

savours somewhat of the school: she Tommy Patts (Pupil and Apprentice to

wants freedom and air both in voice Orpheus), Mr. Wilkinson.

and action ; and she is not at preAriadne (Niece to Mr. Bungay), Miss sent adapted to the stage. A year Stevenson.

or two may, probably, make her a But the farce itself is such as to pleasant concert singer; but a year beguile a man of his smiles, let him

or two should certainly be given to be a dissenter ever so strong. We study. Miss Wilson wants (not should like to hear that Mr. Peake freedom, but) science, as much as had written a character for Munden. Miss Forde, and she has done wiseWe think he would turn that vete- ly, if report say true, in going to ran's eyebrows to account, and place

Italy a pot of ale in his hand, and a bit of narrative, or a naïve speech, in his This new theatre, which has arisen mouth, so as to produce more than like an exhalation' since the last common effect. Ås Mr. Peake is one season, has opened its gay portals of the pillars of the Lyceum, we see for the reception of its summer comno reason why he should not lend his pany. The old Haymarket theatre helping hand to prop the prouderarch- was sadly in decay, and its numeres of Drury Lane. Harley is already ous inconveniencies were scarcely at that theatre ; and we hope that counterbalanced by the air of famiWrench will be there next season; liarity, aud want of pretension, which and our author has shown already belonged equally to the place and what he can do for these two excel the persons who frequented it. There lent actors. Before we quit the Ly- is an imposing state about the winceum, we should not forget Miss J. ter theatres, that seems to demand Stevenson, who is a pleasant young the preparation of dress: silk and actress, and pretty; her articulation muslin, and fine linen’ belong of is rather too elaborate, and she wants right to their widely extended boxes; ease ; but she has a good deal of ear- but we go to the Haymarket, and nestness, and seems always on the the Lyceum, as to a friend's house, qui vive. Mr. T. P. Cooke, who is to laugh and enjoy ourselves. We one of the Lyceum corps (or was do not know that any of the old last year,—we have not seen him pleasure is actually subtracted from there this season), is really eminent the Haymarket; but we have scarceas a melo-dramatic performer ; but ly learned to make ourselves at home dialogue is his bane. So long as he there yet. The paint and distemper


which has thrown such brilliant hues on the stage, excepting only Dowover the interior of the house has the ton, who may compete with him. effect of reminding us that the edi- His voice, which becomes unpleafice is new, without convincing us sant when it is strained, does not so that it is altogether comfortable. well for tragedy; though in parts, Time, however, will soon remove where it is not absolutely necessary these errors. In the mean time we to split the ears of the groundlings, will introduce our readers to the he must still be considered as an theatre. The interior seems to us eminent performer. Of Mr. Conway, considerably larger than the former, who attempts both tragedy, and but the shape and fashion are much comedy, we feel more hesitation in the same as before. On the ceiling speaking. He is, however, a fine is painted a representation of Morn- handsome young man, and has a ing, which is pleasant enough, though voice that can fill a theatre upon ocwe do not quite understand how it casion. His first appearance at Coharmonizes with the place, or what vent Garden was, we believe, in it is more particularly intended to Alexander the Great (or was it in indicate. In the angles, and on the Jaffier ?) and his talent among perstage, are pillars resembling palm- formers may be considered of about trees, gilded, and the pannels of the the level at which Lee arrived among boxes, which are of a slight red co- the dramatists. We could wish, howlour, are interlaced with gilded trellis ever, that Mr. Conway would give work. The whole of this is very himself more up to the character graceful. There is also, over the which he plays, and we feel assured orchestra, a projection which springs that he would succeed better. There from the proscenium, and is said to is an air of restraint about him, in be for the purpose of improving the his eye, in his voice, and in his step. sound. That this would be the ef- He seems to measure the audience fect is likely enough, and the pro- and the house, and then to act acnunciation of the actors is certainly cordingly. There is something at sufficiently audible. The drop scene, once turgid and diffident in his style, embraces, as might have been an- which inclines us to think that he does ticipated, an allegory, and it has not feel properly his elevation. Mr. somewhat of mystery in it, like alle De Camp (whom we doʻnot dislike gories in general. "The finest drop perhaps we like him from his affinity scene that was ever seen in this to Mrs. Charles Kemble) has a ramba country is, we believe, the original ling style of acting, but he is lively one at Covent Garden, which repre- and unaffected, and is a fit inhabi. sents a hall, with Shakspeare at the tant of comic ground. He is like a head; and Ben Jonson, Moliere, and smiling welcome at the new theatre, other famous dramatists, ranged side and graces, and is graced by it. We by side, and forming an illustrious have seen better Captain Absolutes avenue to the spot on which the most than he, however, for we have seen immortal of all poets stands.

Mr. Charles Kemble, who (whatThe principal performers at this ever difference of opinion there may theatre are Mr: Terry (who is also be among critics, as to his tragic stage manager), Mr. Conway, our powers) is undoubtedly the first old acquaintance Mr. De Camp, Mr. gentlemanly comedian on the stage. Leoni Lee, a Mr. Ward, and a Mr. His Cassio, Charles Surface, Don Tayleure: and the performances have John, Falconbridge, &c. &c. were been--a little piece, from the French; never surpassed in the recollection of called · Peter and Paul,' the Rivals, play-goers much older than our. the Provoked Husband, the Green selves, and his spirited portraits of Man, Guy Mannering, and some chivalrous heroes are entirely ada other matters equally notorious. mirable.-Mr. Leoni Lee, the new

The merits of Mr. Terry are well singer, has a voice of limited comknown. His forte is decidedly come- pass, but without anything harsh in dy; and in such characters as Mr. it. We have little doubt, but that Green, Major Oakley, in angry fathers we should like him in a room, as he and hot-headed governors, and sar- has rather a graceful style, and selcastic guardians, &c. there is no one dom or never shocks our antipathies. Vol. IV.


We do not know what to make of present. The probability is, that he Mr. Ward. We will see him again. has been in the habit of acting ad link At present we do not much like him. bitum to the good folks in the counMr. Tayleure should study the art of try, and we know, from the story of confining himself within the limits honest Mr. Flamborough's picture, of becoming mirth,' and he may, that they like high colouring almost perhaps, become a favourite: he as well as truth, - sometimes, it is wants a little refining, however, at said, even better.



ART certainly vies this year with 80 wonderful a display of vocal power, nature, in protracting her processes; conjoined with such high and touchfor we were just meditating on the ing physiognomical expression. “Her

propriety of summing up the pro- eye," said a gentleman to Monsieur gress of improvement--of reaping, as Vallebrêque (the husband of Madame it were, our musical harvest-of esti- Catalani), " is Jove's own lightmating the general growth and bulk, ning, her face a whirlwind, and her and casting up the balance of our singing, the explosion of a volcano.” gains and losses, when lo! Madame On the 16th, the concert took place, Catalani appears, like a portentous the admission being fixed at one comet, and increases indefinitely, guinea. This distinguished person while she also delays the promise of may, perhaps, have some title to make the season.

Her performance, like such a demand ; but we must 'menthe King and his coronation, super- tion, incidentally, that this inordinate sedes all the other topics of science. price of tickets has this year been When she left this country she was demanded by two or three persons, pre-eminent; now she returns to it, and those foreigners, whose accomthe world of art will be curio to plishments entitle them to no such discover whether she is still greater; assumption. We see in this a type or whether those faculties and powers of the character of the age. The which then seemed too vast to enjoy principle of exclusion is creeping into addition, bave undergone any, and music, as well as into every thing what changes. In order to form a else. Madame Catalani selected more accurate judgment, it were ne- four songs: Della Superba Roma, a cessary that we should present a new composition of the Marquis Samsketch of this wonderful singer's at- pieri, an Italian virtuoso of great tainments when she quitted Eng- reputation; an air written for the land: but this cannot be done in a violin with variations by Rode, to slight manner; and we must content which words were appended ; a reourselves by referring those of our citative and air, Mio Bene, by Pureaders who take sufficient interest citta; and the famous bass song int in the subject, (and who that is music Mozart's Figaro, Non piu andrai ; cal does not?) to the elaborate de- with the first verse of God Save the scription of Madame Catalani's at- King, by way of finale. The other tributes and acquirements in the first parts of the concert were two or volume of The Quarterly Musical Ma- three instrumental pieces; two bass gazine and Review.

duets by Angrisani and Placci, and Madame Catalani arrived in Lon- a duet for the harp and piano-forte by don on the 10th, and a concert was the Misses Ashe, which those young announced for the 16th. But on Sa- professors performed with great taste, turday the 14th, there was a re- precision, and general excellence. hearsal of her songs at the Argyll But Catalani was all in all; and the Rooms, at which about 150 of the room, crowded with fashion, glitternobility and most eminent professors ing with stars, and graced by royalty and amateurs were allowed to be (the Dukes of Clarence and Campresent. We have never witnessed bridge, with the Princess Augusta,

and the Duchesses of Gloucester and Her choice of a comic bass song was Cambridge, being present), contained dictated, we presume, not so much no one who seemed willing to at- by singularity, as by the desire to tend to any other portion of the en- show her talents in a new style, and tertainment.

the richness and depth of her lower Della superba Roma were the first tones. She transposed it one note, words that broke from her lips; and and sang it in the key of D. She al-, they issued forth with a grandeur, tered many of the passages, by inthat might have led one to imagine serting short, but appropriate volate, the proud mistress of the world was and also by the introduction of enhere personified. The rich ampli- tirely new phrases, where repetition

, tude of her magnificent tones filled seemed to call for variation. She the ear, as the broad splendours of moreover appended two splendid cathe mid-day sun satiate the eye; and dences to the pauses. But she enit was at once discovered that her riched the song with genuine hupowers were only matured during mour, mellow and expressive, partie her absence from England. As she cularly where the words Non piu proceeded, this impression was con- undrai were repeated. Upon the firmed by every note. Perhaps the whole, this air gave most pleasure ; principal and reigning idea was, that the others excited most surprise. she had gained in force, and lost a But the figure and features of Matrifle in sweetness. Her execution dame Catalani are certainly subjects is thus somewhat changed in the for as much admiration as her voice. manner, but not at all in the subjects Never, surely, were transitions so upon which it is employed. Her fine, so instantaneous. Yet the effancy seems to have slumbered; for fort, involuntary and the offspring of she appears to have added nothing to high-wrought sensibility (as we are her former stock of invented pas, convinced it is), is frequently dreadsages. Even her facility is endued ful. The spectator trembles for the with new and extraordinary force. beautiful creature before him, who is In one chromatic passage (ascending at one moment convulsed with pasby semitones), to those who stood sion, the next melted by tendernear, her voice sounded like the wind ness. He cannot escape the fear, rushing through trees; and, indeed, lest those delicate vessels, that swell distance is absolutely indispensable almost to bursting, should overpass to the true enjoyment-to the true the point of safety, and destroy the notion, of this wonderful woman's frame they serve to agitate. powers. All her effects are calculat- As a whole, then, this wonder ed to operate through a vast space; stands alone. Her grandeur of conand at every remove, we will ven- ception is not more marvellous than ture to assert, the auditor would be the thunders of her voice, and the liable to entertain a different idea of lightnings of her countenance. THERE her singing. When very close, it is 18 BUT ONE CATALANI. really terrific. (Young Linley fainted, To break our vast descent to miand dropped from his seat, at her re- nuter objects, we shall next take the buke for playing a wrong note dur- Concert of Mr. Mocheles, given on ing the rehearsal, through the fault Wednesday, July 4. We spoke of of the copyist.). She would be said by this professor in our last; but we judges to violate every rule of art; scarcely did justice to his very, very but as you recede, distance modifies superior attainments, of which lanthe preternatural strength; and the guage can

convey but indistinct grandeur is retained, while the ideas. His command of his instrucoarseness evaporates. Madame Ca- ment (the piano-forte) is really proditalani has formed a style of her own, gious; and his rapidity, precision, and it is purely dramatic. It is also elasticity, neatness and delicacy of florid in the highest possible degree. touch, his certainty in striking disHer voice is the most prodigious in- tant intervals, both at top and botstrument, in volume and in tone, that tom of the compass, his thumb actever astonished the ear; her facility ing like a fulcrum to his hand, canis not less marvellous. Her capital not be surpassed. In the intellectual faculties are force and transition. parts of his performance he is not lens



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