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Leader (1850-1860), 3rd April 1852, Edition Country of 2, Page 22, 330 T H E I. E A B E R, OSAiytjRD^

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      330 T H E I. E A B E R, Osaiytjrd^

      330 T H E I . E A B E R , OSAiytjRD ^

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      Kobekt Macaire. Without Robert Macaire T...

      KOBEKT MACAIRE . Without Robert Macaire this nineteenth century of France would want a type It is no small thing for an actor to have created such a type ; and that Frederic has done . Other parts may be . played by other men , but Frederic is Robert Macaire ; and a inorequaint , fantastic , graceful piece of philosophic buffoonery does not exist . I am not here to criticise a performance so universally known ; but a word upon the celebrated snuff-box may not be out of place . To my astonishment I find a dramatic critic saying , " the snuff-box was as eloquent as ever . " If you must know in what that eloquence consists , learn that whenever Bobert Macaire opens his box , in turning round the lid it gives a squeak , and whenever it saueaks the foolish audience laughs , as if some exquisite joke were there

      To my mind , so great an actor as Frederic might very well dispense with so cheap and easy an art of tickling the ears of the groundlings ; and yet , to show how some physical detail arrests the attention of the crowd , nine people out of ten , in speaking of Robert Macaire , will infallibly mention the snuff-box , as if Frederic's talent were illustrated by that ! I remember standing before Bauch ' s statue of Blucher with an Englishman , whose admiration found a Vent in this remark : " Look at the spurs—how wonderful ! " Here the detail which his practical experience appreciated was to him of more consequence than all the rest of the statue—Hauch

      must be a great sculptor who could represent spurs with that fidelity ! - But because I think the snuff-box business trivial , I must not be supposed to depreciate a performance which is perfectly unrivalled . " Age cannot wither nor custom state its infinite variety . " I think Lemaitre detestable in tragedy , and inimitable in drame and buffoonery . Rny Bias was afflicting ; the scenes from Trente A ns de la vie d r wi joueur , proved that his day is passed for those great effects he used to produce ; but in Bon Cesar , Robert Macaire , and Paillasse he must be praised in hyperboles . Hegnier , the rif , spirituel , and well-disciplined Itegnier , is to be with us after Easter , with Mdlle . Denain , and Paul Laba .

      Opeking Of The Royal Italian Opera. Cice...

      OPEKING OF THE ROYAL ITALIAN OPERA . Ciceeo , a great wit as well as a great orator , and dearer to me in the former character than in the latter , somewhere points to the surpassing acuteness of the Greeks , as proved in their reckoning no man accomplished who was not a musician . " Were I cursed with an obdurate tympanum , and the taste of a BritisITTenor , I mi g ht answer Cicero , and prove that by music , the Greeks understood something far more extensive and intellectual than we understand by it . Indeed , I might reasonably ask 4 f the Greeks knew anything about music at all , in our sense of the term :

      simple melodies , and a rhythmic turn ! turn I twanged on a short-stringed lyre , they had abundance of ; but what dim and distant notion had they of our grand orchestral and choral harmonies , our prodigal colouring and heaven-scaling wails of passionate aspiration ^ What knew they of Gluck , Beethoven , Mozart , " Weber , Meyerbeer ? " As well ask what they knew of a railroad or a post-office . For you must not take without criticism the accounts transmitted us of Greek music . It is all very well for Poets and Feuilletonists to rhapsodize , but let us control their rhapsodies by Science , and ask any gentleman with profound views on the subject of Acoustics , what tone or combinations of tone are possible with a lyre such as we see the Greek lyre to have been—what could be done with those three short strings ? Or what with that Pipe , ( otherwise called a syringe—crvpiy £ , ) iroon which nastoral-minded men expended their lungs P

      All that I might say—if I were an ass . But remembering what Genius can do , I believe what Genius is said to haye done . I don't think Orpheus a fable—what was Paganini P Then , let us remember David soothing the anguish of Saul ' s kingly heart , by strains so touching , that Madness itself melted before them ; and yet the harp he played on was , after all , nothing but a Jew's harp , you'll observe ! I wander from my point , which was Cicero's remark on the necessity of music to an accomplished mind . " The man that has not music in his

      soul "—the quotation is somewhat musty . Indeed , how can a man claim the recognition of well-regulated minds who docs not go to the Opera P How can he hope to exist without going to the Opera P What is Life , but a Rhythm of the Divine Harmony P ( I hope you understand that phrase !) What is the Metaphysic of Tone , as a profound German—Schilling—in a luminous treatise on the JEsthctic of Music , pertinently asked—what is the metaphysic of Tone , but the Physic of the Infinite , the Anthropology of the SoulP What , indeed ! And if this bo so , which tou cloarlv see must bo so , then , argal , the Opera is one of the grand

      Functions of Life ! . In unphilosophic plainnoss , the Opera has become one of our indispensable luxuries . " Le superjlu chose si nfacssaire ! " savcl Voltaire . Ijio Opera is a luxury become a necessity , and thcroforo the opening of tho Iloyal Italian last Saturday was " an event . " It was tho burst ot spring sunshine heralding a summer of delight . All the " old familiar facos were smiling there , and every one was disposed for enjoyment . I ho orchestra , so disciplined by Costa as to be the orchestra of Europe , was strengthened by the immense talonts of Bottessini and Pjatti , and one only regretted that they had not something more worthy of their powers than tho noisy , meaningless music of Maria di Rohan , which it not Donizetti ' s worst opera , ( a b & ld man ho who- dhould fix upon tho worst !) is undeniably among tho very bad ; an occasional passage from the Obcron , and several from Bossini , notably in the Otello , wore the only agreeable Jtonoom in

      phrases that caught my oar . But , en . revanche , there was unusually good voice ( novor very good ) , and Tamborlik singing as only Tamberlik can sing . Madame Castollan looking pretty as over , and smginc with the same charm of voice and execution ( a little unsteady sometimes in her intonation , and wanting in decision in attacking tho notes ) , and acting with the same ladylike ^ propriety—always one routine of looks and gesturos , no matter what ; tho part . Moreover , there waa a debutante , Mdllo . Scguin , a full , molodioua contralto , wanting m brio , but

      free from all affectation , and capable after a little experience of " render ^ ing important service to the theatre , " as the French critics say . The triumpn of the evening was Ronconi's acting in the last scene : there he showed himself the great tragic actor , the master of irony , terror , passion and the fine fluctuations of an agitated mind . The Divertissement was an infliction . It is a mistake to lengthen out an opera by inserting dancing . Let those who delight in the galvanized grace of pas and pirouettesbe treated thereto at the end of the evening ! ' . - ¦¦ ' ¦ ¦'¦ . : ' Vivian . ¦

      The Opera Of Guillaume Tell Was- Admirab...

      The Opera of Guillaume Tell was- admirably performed on Thursday , but it was chiefly remarkable for introducing to a London audience , Herr Ander , a German tenor , whose repute was already known . He is a truly fine singer , and the part of Arnold is well suited to show his qualities . He has a voice not of unlimited compass , nor is his delivery equal to that of the very happiest Italians ; in both respects he might claim a second rank . But his faculties place him in the very first . Although not boundless , his voice is at once powerful and tender ; his elocution is broad , clear * emphatic , yet tasteful and delicate ; his style is highly animated , varied , and dramatic ; his features are plain and strongly German , but his countenance is expressive , his person is graceful , his deportment is free , dignified , and manly . Here are adjectives enough to make a fine singer . Ander reads his part with a just and modest discrimination ; his entrance is

      unobtrusive—he seeks to occupy his proper place in the scene of the moment ; he does not labour to make " points ; " he sings with sparing embellishment . The great trial of the piece , the ; scene in which lie endures the reproaches of Tell and Walter , yields love to patriotism , and becomes a leader of the patriot rebels , —was a noble piece of lyric acting ; forcible , finished , strongly contrasted , and yet in harmonious keeping throughout . Ander was well supported by his colleagues : Eonconi , the consummate actor and musician , is the very model of 2 HZ—plain , dignified , and tender . Marini is in better voice thanve have ever heard him , and in as good looks as ever—a giant of proud vigour . He was welcomed as an old friend . Castellan , ever refined and interesting —Tagliafico , sound , efficient , and conscientious , and admirably " made up " —Polonini , useful and complete—you know them already . The chorus

      singers themselves might be mentioned individually , so much individual co-operation do they throw in : the conspiracy scene was a triumph of dramatic chorus-singing—the whole trained to a light and shade , not always found in the part-singing even of solo performers . Need we add , that the overture , played as only Costa ' s glorious band could play it , was re-demanded with immense enthusiasm . After the great trio in the second act , Honconi , Marini , and Ander were called before the curtain ; nor was the excitement of the audience appeased until Costa had made his bow from . the stage , his official baton in hand . Altogether , Guillaume TelHs a happy revival ; and , we feel assured , every freshperformance will increase its attraction . L .

      Her Majesty's Theatre. Aftee Many Rumour...

      HER MAJESTY'S THEATRE . Aftee many rumours and some terrors lest there should be no opera this season at Her Majesty ' s , Thursday night settled all doubts by the opening of the dear old house ; with Maria ^ di Rohan , as if m rivalry ol C . ovent Garden . Not because I have any affection for Maria di Mohan , but because I wished to compare notes , I went to Her Majesty ' s , and left Guillaume Tell to be treated by my colleague . Ferlotti , the new barytone , who made his ddbut in Eonconi s part , is what people , who like vague words with a grand sonority of no meaning , call " an artist . " They admit that he has not much voice : " Oh ! but quite an artist ; " they admit that he sings flat : " but he is such an artist ; they admit that he languishes and shouts alternately : " but what an artist . It may be so ; but if it be so , all I can say is , I wish he were less ot an artist and more of a singer . Ho is really a tragic actor with " line moments , " as tho French say ; and his third act was a thrilling performance . But his singing was throughout spoiled by a sickly affectation of tondorr . « aa W « tpflioiifl rntardation of the temvo—bv an alternation of forte anu

      pianissimo—and by an unsteadiness of intonation , which in any but an artist , " I should declare to bo serious defect !} . Still , lot me not exaggerate even in his singing there were good points , and I shall be glad to hear him in another part before passing a final judgment . Calzolari fiang tho music of Chalais with considerable effect ; no improves every year . Fiorontini , as tho Duchess , did not look so handsome as usual , but sang with unusual entrain , and was in capital voice . ± < y Bertrand made a decided hit in the small part of the Abbo ^ dc « onai ; and , altogether , tho opera—for such an opera—wont off with ^ ""; , until Joanna Wagner appears , Her Majesty's trump card has not Dec

      Society Of British Artists. The Present ...

      SOCIETY OF BRITISH ARTISTS . The present exhibition in Suffolk-street continues tho improvement on its predecessors , and is far more rigidly freod from pictures of a men ^ bo retained within tho scan of domestic , affoction ; a number ot the w jVJ that now adorn the walls possess merit as transcripts of nature- i particular aspects . Horo and there , too , wo notice works ol cl ( T promise Amongst tho latter wo must , unluckily , still rank Mr . Inir » * ^ tho president , who has been a public man for many years , and ibsi ^ promising artist . ' Ho has for years " given hostages to fortune , ;"^ j . shapo of innumerable children with shaded oyos , and shaded soles to foot , that ho would bo a Murillo ; but ho has not redeemed those J J ^ 11 (; However , ho has true feeling ; ho can catch a smile , soizo a V f ™ . ] lt attitudo , and hint a sentiment ; and if ho wore a stronger man , no h convort into fame fulfilled i vort into lame mnuiou

      promiso . _ _ . -r ^ . / ii ^ rlon ' fl con promiso . -nil' io-1-on 0 The most oxtonsive merit is that of painting " bits , " like ^ ° . \ VJJ »' , 9 " Sedgy nook in tho leafy mouth of Juno" —a specimen o ma if , «• art . Alton ' s " Summer evening" —a viow over a villagod valley « , i 0 ambitious . But this artist , like J . C . Ward in tho " Windy . day on ^ coast of Oban , noocls to acquire a greater mastery over Ins jwgniui .

  • Citation
    • Leader (1850-1860), April 3, 1852, page 22, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/cld_03041852/page/22/