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Leader (1850-1860), 16th August 1851, Edition Town of 2, Page 782

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    • cE>rgtimjattnn0 nf tlfe Tfits^t, POLITICAL AND SOCIAL.
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      German , and scorning to spoil a good story , I accept the '* Lover ' s Leap " as veridical . It is true she had a horror of death , and ingeniously said—• ' Death must be an evil , otherwise the gods would die . "

      tonQvaiarK-qv K'Xiiov' ol Beot yocp Oi / Toi KiKpucaicriv .... but when she said that , Phaon had not slighted her ! To conclude these details , Sappho is also said to have been implicated with Alcseus in a conspiracy against Pittacus ; and of her personal appearance we learn that she was a dark brunette , and very small . been

      I don ' t know why , but Sappho has more frequently chosen as the subject for an opera than any other historical or mythical person—and with uniform success . M . Augier has given a new turn to the story , but he has not given it a new charm . He has departed from traditi n , but gained nothing by his boldness . Judge : — The scene opens with the the Olympic games at Lesbos ( where , by the way , Olympic games were never held " but that ' s not much" ) . Alcaeus

      , and Sappho are about to dispute the prize of Song . Phaon , who has hitherto been captive to the charms of Glycera , a courtezan—Oh ! but a courtezan in the frank corruption of the term , not a semi-modest eesthetically cultivated Lesbiannow feels his heart inclining towards Sappho , and when she conquers in the poetic struggle—when she gains the choral homage of the crowd , he falls incontinently in love with her as many a youth does with Giulia Grisi : —

      Ciaseun t ' ammira , ed 10 t amo ! I forgot to add that Alcaeus is plotting against the tyrant Pittacus ( what a profound misconception here of the meaning of the Greek word " tyrant " !) , and instead of chaunting about love , hi sings in praise of liberty / Altogether this Siene would have made a Greek smile , and would drive a German commentator mad . As if to make the anachronism , more complete , M . Gounod has borrowed phrases from the Marseillaise to make up his hymn to liberty !

      Let us forget we are in Greece , and remember only that . Alcaeus is plotting against a despot , and has brought Phaon into the plot . In the second act we find Sappho as the mistress of Phaon . It opens with an orgie—a stage orgie , with " . supers " recumbent on couches , slaves pouring nothing into huge gilt pasteboard goblets , together with an air of solemn enjoyment on the part of the chorus casting- anxious looks at M . Costa ' s baton . Gloria a Jiucco ! they sing , and with the amount of vinous inspiration to be expected from men at thirty shillings a week intoxicated by " property " wine . Having chaunted Uficchus , lliey throw dice for the honour of . slaying the tyrant . Phaon is the

      favoured one . He signs the manifesto , and gives it to Pythias to " get . copied . " More " Glory to Bacchus , " and — exeunt conspiiators ! leaving Pythias to Glycera , who now enters , full of jealous wrath at Phaon ' s abandonment . Glycera , as I intimated , is a frank courtezan : a person of historical reputation , a Grecian SopViie Arnould , whose fjon mots were circulated at every Symposion . One of these 1 remember ( it has found a place in the collection of the celebrated Joseph Miller ) : —A gallant youth presented her with ajar of rare wine , informing her it was eighteen years old . "Hm ! " she re p lied ; "' t is very little of ita age ! " [ N . JJ . I should not like to have put Glycera dans ses meubles !]

      To the plot , however . Glycera coaxes the manifesto from Pythias—sells herself for it , in fact . Once possessed of this instrument of torture , she proceeds to avenge herself . Threatening t ) betray Phaon unless Sappho bids him fly , and swears not to accompany him , Glycera makes it appear to Phaon that Sappho no longer loves him ; but that she , Glycera , remains true as ever . Phaon thus—inverting tradition—becomes the rejected one , and departs with the witty unscrupulous Glycera . In the third act we find them on the sea shore . Sappho , from behind a rook , hears him curse her ere he quits the shore , and sinks down senseless from despair . Here there is a toucli of real poetry ; what Scldciexniacber would call tragic irony . While Sappho is in her swoon , a / shepherd descends from the rock , carolling this immoral , which has the accent , of Theocritus in it ;— Feed , feed , my gentle flock , Feed on the frngrimt , thymo ; The Bweet Aglne this morning Ha « prcBHud her lipa to mint ) .

      I await the rising Venus , To meet her on the way : Come forth , O star of love , From heaven dispel the day . There he stands , pipe in hand , piping and singing on the ledge of rock , singing of Aglae and love , while at his feet lies the broken-hearted Sappho ! He disappears and she awakes , seizes her lyre , bids adieu to life , and flings herself from the rock . There : I have taken unusual pains to tell you the whole story of this opera , because the work is that of an accredited poet , and ought not to be disregarded . There is no need to disguise my

      opinion of its triviality and want of dramatic tact . With regard to the music I feel somewhat more diffident . A first hearing is never sufficient . With a work of so much originality and elaboration one may reasonably suppose that familiarity will greatly enhance enjoyment . In all that I am about to say , therefore , be pleased to read only first impressions , which may possibly be modified hereafter ; though in essentials I do not think any modification probable . I cannot be mistaken , for examplein denying the work beauty of melody .

      , M . Gounod has melodic ideas , but he never developes them ; he does not treat his theme in a broad sequential manner , but splits it up into fragments , so that the ear is always on the stretch . This objection is fundamental . No familiarity with the music can affect it , although it may discover phrases of ravishing grace , which passed unperceived at first . Moreover , I miss the essential qualities of dramatic music—viz ., life , impulse , daring ; and this is shown to a remarkable extent in the concerted pieces , and in all those

      places ( not choral ) where dramatic expression is most exacting . But it is impossible , I think , to be insensible to the very great merits of Saffo as a musicianlike work . A first opera is rarely a chef-d ' oeuvre ; but M . Gounod may still write one . The public will at least recognize his originality , his contempt for commonplaces , and for the facile ad captandum effects of modern writers . The orchestration was

      in many parts very captivating ; rich , without being noisy , and ingenious , though inclining to excess in modulation . The opening chorus prepared me for a very great work : its structure is noble and imposing , and its rhythm energetic without violence . The air which follows—deliciously sung by Tamberlik— is pretty , though too much in the style of Mile . Puget ' s romances ; and the chorus of priests , " O Giove onnipossente , " is very

      striking ; especially the accompaniment of harps , muilled cymbals , and drums , which pulsate mysteriously , at regular intervals , beneath the mass of instrumentation . The hymn to Liberty , sung by AIcscus , is poor ; that of Sappho to Love is not much better . The finale was greatly applauded . It is written upon the well-worn device of giving the theme to orchestra and chorus ; if not the most enduring of effects it is always certain to rouse an audience . In the second

      act there is a decided falling oil . Except the chorus of conspirators , Not giuriam mortewhich recalls Meyerbeer in its structure , and a lively duet between Pythias and Glycera , the accompaniment to which is delicious—the whole act seemed to me dull and undramatic . The third act is but a scene , and that indifferent : the one redeeming thing being the shepherd's song , which was deservedly encored ; it is a fresh , naive , pastoral , and sweetly monotonous air , with a monotonous accompaniment perfectly in keeping .

      On the whole , the opera had a succes d ' estime It is one of those works which make you compliment the author—and stay away . It does not amuse you , but you feel that it is very clever , and that you must not poohpooh it . As to the enthusiasm and plaudits which his friends anticipated , there was nothing of ( he kind : the house was respectful and cold . Instead of welcoming a great genius , they seemed to say— " We wish this opera were a trifle less artistic , and . somewhat more melodious and amusing . " Not that audiences are judges ! Not . that Gounod ' s claim to geniuH is lo be estimated by their applause ! He may still justify the grand hopes of his friends . I do not think that Hajfo will do so . '

      The opera was well mounted . The orchestra admirable , as usual ; the chorus wanted some extra rehearsals to subdue their rebellious bawling ; the singers did their best . Tamhcrlik , as Phaon , Hang ungrateful music with that expression and beauty which he throws into all parts however poor . Tamburini was comic in the wanton old Pythias . Castellan looked extremely pretty hh Glvcera—in a dress biinilur to that worn by ltuchcl in Lycisca

      but oh ! the difference in grace , languor , volup . tuousness , and corrupt intelligence ! Her acting was not more inane than usual ; her singing as good as the vexatious music would allow . Vlardot I never saw to less advantage . She was monotonous and ineffective . Very different indeed is the Sappho of my imagination ; and I felt

      somewhat balked by seeing such a representation . Even Aristotle says she was beautiful ; and ' although a philosopher ' s judgment in that respect may not perhaps be the most authoritative , still you know Aristotle was a Greek , and as such a connoisseur ! But apart from physique , I was wearied by the monotony of Viardot ' s acting ; and I must take the first opportunity of seeini her in L'Elisiro d'Amore , or the Prophite , to get ; rid of the impression . \

      Ce≫Rgtimjattnn0 Nf Tlfe Tfits^T, Political And Social.

      cE > rgtimjattnn 0 nf tlfe Tfits ^ t , POLITICAL AND SOCIAL .

      Untitled Article

      PATRIOTISM A " CHARITY . " Organization has no sinew among us . Its bond of union is composed of tow . Patriotism is a sort of charity . Reformation is not a business but a philanthropy ; and of course patriotism and reform areas accidental as good nature , and as precarious as spontaneous benevolence . An illustration , of this has recently occurred , which is worth particularizationnot because there is anything particular in the nature of it , for the instance is common , but because there happens to be an explicitness about it which makes it obvious to those who do not usually notice such , matters . The Friend of the People , which has been for some time conducted by Mr . G . J . Harney , has

      at length ceased . The spirit in which it has been discontinued is highly creditable to the editor . The sale did not supply the costs of production ; and , determined not to incur liabilities beyond his private power of meeting them , the editor has resolved to stop it . The number in which this announcement appears contains a notice of the mode in which Mr . Harney proposes to occupy himself , which for the present will be by a " lecturing tour in the North . " It is not the mode in which he proposes to work which excites enrioHitv . but the mode in which he proposes to support

      himself in the dischurge of his public duties , in answer to some questions about terms , his answer is , 41 1 leave all pecuniary arrangements to the » on ° *[ r and ability of my friends . " Now , as the peop le Mr . llurney chiefly addresses , and prefers to address , ar poor men , it follows that they have no pecuniary ability . But whatever their ability may be , « » their honour which will determine the liberality wit which they will use their ability . Mr . u . arnc J a J appeal , therefore , is to their honour . Yes , it m be to their honour , because after all it is honour tnu makes ability—for poor men with honour often (^ more than rich men without it . But the p

      in discusaion is this , that this gentleman p ^ posea to depend for remuneration upon the no of that unknown assemblage of persons who c inonly make up a Churtist meeting . He is a very ^ man to be able to do thiH . His system of businc worthy of the period of the Arabian Nig hts . ^ . Harney made an arrangement with his / jr ' n jjjg cher , and tailor to truat to his honour ? VVi landlord , with respect to all " pecuniary atrw j ^ incuts " of rent , leave that to his honour ? iN » ^ the Railway Companies , one and all , «« flOOU i : . tcly presents himself at their Booking-ofliees , in j " ifljng hand over to him his ticket , leaving the honour

      " arrangement " of payment to his . ^ ^ Harney could not live a day nor travel a i » i « jiftg system ; and the spirit of integrity in w . licl 1 ho , » resigned his Friend of the People is \ troot "" ul < iho not a man likely to attempt , it . Then why » ' | ind put the more important oflioo of public » I > * ' £ ^ ill public instruction , on a footing on winch no . make a coat or bake n loaf ? The rcaaon oi ^ l ( j . that some perHons in Parliament , ami ct ^ en 00 formers out , huv « at various tiinea made > t tt , nan to he a « hired orator . " If by that is int <> n 'l ^ llka for who speaks because he is hired , and wno * a CCUHahiro without reference to conscience , then . .- jnftiiY tion is one to be avoided : and in order to avoiu

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      THEATRES . Want of space must prevent my doing more than simply recording in a line the success of Balfe's Quatri Fratelli at her Majesty ' s , the lively music bearing very well Italian transformation j—the success of Anjelo at the Olympic ( an adaptation of Victor Hugo ' s play ) with Mrs . Stirling as LaTisbe ; —the successof Mr . EdwardFitzwilliarn ' s opera , The Queen of a Day , at the Haymarket ;—and the conclusion of Bound ' s engagement which is also the conclusion of the delightful season of French Plays . For criticism you must wait till next week . Vivian .

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      782 ® t > * % * & ***> [ Sawrday

  • Citation
    • Leader (1850-1860), Aug. 16, 1851, page 782, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1896/page/18/