an anacreontic cast in the airs. Cherubini has, as usual, depended principally on his accompaniments, in which he is always preeminently successful. "Fanny's Worth," by Spohr, is light, elegant, and expressive, the accompaniments beautiful, and by no means difficult. "Fairy Song," and Chorus, ad. lib., by Mozart. This was originally a romance for a tenor voice in the "Seraglio;" perhaps the most striking composition in the opera: the modulations are very strange, but do not appear forced. The symphony commences in the key of B minor in the fifth bar; the melody is in C major, and in two bars it modulates into F sharp minor.

Out of these nine compositions there is not one which does not soar far above mediocrity, and, generally speaking, they form as choice a bouquet of foreign flowers as the taste of any individual could have selected. We trust, by the fostering care of our fair countrywomen, they will thrive in the soil to which they have been so ably transplanted.

ENGLISH THEATRICALS.

style, for so short a ballad, we have sel- of character; there is certainly nothing of dom met his equal. Having once heard it, || the melody rang in our ears for a week afterwards, which in our opinion is a sure sign of excellence. "The Lament of the Savoyard," from Hummel's Fauchon. The effect of the § time in a minor key is beautifully plaintive: the air is generally beautiful, though not quite equal to the two former. We think a more striking specimen might have been procured from the same opera, "The Knight in azure Steel is clad:"-Romance, Mehul. This is the least effective piece in the volume, though considerably above par: the melody is striking. “When all has faded into|| Dust:"-Mozart's German songs. This is highly finished, though perhaps not so effective as the first; it is very similar to a melody in "Cosi fan tutto." "The Remembrance," by Romberg, is simple and exquisitely plaintive. "Know'st thou the Land?" by Spohr. This is the bijou of the collection-one of the most splendid examples of fine expression and rich harmony we have ever met with. The Poetry is Mignon's celebrated song from " Wilhelm Meister," a favourite subject with the German composers. Beethoven had previously adapted it in a masterly mannerat least we used formerly to think sobut since Spohr's composition it is truly "Hyperion to a Satyr." This song is one of the finest specimens of musical declamation we are acquainted with, not to be surpassed even by "Deeper and Deeper;" every inflexion of the voice, in a fine oratorical delivery of the words, seems to have been carefully studied and expressed by corresponding musical notation. To particularize individual points were needless where all is excellent; but the manner in which the composer has given the words "Know'st thou, &c." with a different harmony at each repetition, is excellent. The answer, "Ah there," the passage, at "the ample pile," &c. are beautiful readings of the author. As this song was originally composed in the German language, we are astonished that the translator should have been able to preserve the correct accentuation of each word as he has evidently done. -"The Festival," from Cherubini's Anacreon. The vocal parts of this duet are excellent as melodies, but there is a want

DRURY-LANE.

The Road to Ruin, a comedy associated in our recollections with some of the most impassioned and touching acting of the age, has been presented for the purpose of introducing a Mr. Williams (from a provincial theatre) to a London audience, as Old Dornton. The attempt was a hardy one, considering the great impression which has been so recently made on the public mind by Munden, and all that we could do, was to hope that the débutant did not injudiciously over-rate his talents. Mr. Williams has, however, passed the rubicon; and if, with many of our contemporaries, we believe him to be unfitted to repair the loss of Munden, we must also commend him as an actor of much respectability, and one fully acquainted with the business of his profession. In a lower walk of comedy, Mr. Williams may be serviceable. Wallack's Young it has too much the air and manners of the Dornton has many faults, with a few beauties: the drama-and not a sufficient depth of feelwalking gentleman, the Joneses and Smiths of ing in the spendthrift but affectionate son. Harley's Goldfinch is clever and bustling: the Morning Herald made a very grave charge against his wig; for ourselves we thought the wig good enough for the acting. Mr. Bennett,

from the English Opera House, made his first appearance as Sulky, a part eminently fitted for the harsh and grating delivery of the actor. Mr. Bennett accomplishes some things with respectability, but, after all, he is only Blanchard at second-hand. Mr. Gattie played Silky; we could as soon associate the appearance of a hedgehog with that of an eel, as the manners of Mr. Gattie with the character of Silky. We were happy to see Miss Kelly returned to a station from which we would

of Mr. Booth's Brutus was assuredly the most effective. Mrs. Bunn made the most of the

termagant Tullia.

Of Mr. Booth's Richard we may speak in terms of praise, though certainly not un|| qualified approbation. His early scenes were marked by a listlessness, an ennui evidently opposed to the stirring, malignant character of the tyrant. He kills King Henry with the most possible carelessness, and afterwards descants most tediously upon "the poor

never willingly have her depart: her Sophia || king's blood." His love-scene with Lady abounded in all the excellencies of the unrivalled and natural actress; we never witnessed a more triumphant development of her powers.

The pantomime of Valentine and Orson has been revived with much splendour; and, recommended by its excellent music and some good acting, has not failed to enjoy the success, no doubt, calculated on by the management. Mr. O. Smith, as Orson, leaves all competition at a fearful distance-his performance in the scene where he first encounters Valentine is of the most animated description; and indeed throughout the character he never slackened from the vigorous and energetic acting at first identified with the savage. Penley gives all possible importance to Valentine; and Mr. Fitzwilliams, as Hugo, strives to be comic with tolerable success.-This pantomime has ever been a favourite with us, and the present style of its production in no way makes us regret its revival.

Mr.

en

Mr. Booth, who it will be remembered some years since presented himself as a rival to Mr. Kean, has appeared at this theatre in three of that performer's favourite characters. It is evident, from the very limited gagement of Mr. Booth, that the manager deemed it a hazardous speculation, and the result has assuredly outborne his suspicions. That Mr. Booth is not an actor of some talent we are not prepared to assert; but that he is in every way utterly incapable of filling the vacuum made by the departure of a great master of the art, we feel no hesitation in declaring. Brutus reintroduced Mr. Booth to an English audience. In parts it was a respectable performance; but the transition from apparent idiotcy to the avenging patriot was too boisterous even for the bombastic matter of Howard Payne. With Kean there was a subtlety in his most vacant moments;-a transient flash of intellect irradiating the action of the "fool," even though it left him the same idiot. With him it was the excess of folly, yet still folly receiving importance from an associated mystery. The last scene

Anne, although not without merit, did but remind us of better things. The best effort was the tent-scene, into which Mr. Booth cast much energetic passion and feeling.

Othello closed Mr. Booth's engagement. It was a dull, spiritless performance, and passed off with the most perfect tranquillity. Wallack is a clever actor, if we accord to him a melo-dramatic cloak and a combat; but he has not sufficient strength for the development of the energies of the devilish Iago. The cast was well read, but feebly pourtrayed. Penley's Cassio was respectable, whilst Roderigo (Mr. Brown) gave us the vapours. Upon the whole, we cannot but deem Mr. Booth's second essay a total failure: the comparative coolness with which he has been received, ought sufficiently to prove to him the light account in which his talents are held by a London audience.

Congreve's Love for Love, a comedy possessing all the great dramatist's excellencies and errors in an abundant degree, has been revived. Dowton made his appearance as Sir Sampson Legend, and gave a most faithful representation of the chuckling, good-natured knight. Harley's Ben evinced more sturdiness, than we before imagined could belong to the actor-there was also an originality Wallack's about it which highly pleased us. Valentine was more than respectable. Miss Kelly's Miss Prue was of itself sufficient for an evening's entertainment; it was a most faithful and animated personification of the spirited, We have no doubt the romping høyden. comedy (purified as it is from much of its original grossness) will prove most atractive.

COVENT GARDEN.

Julius Cæsar.-Brutus, associated as it is with the recollections of departed genius, we ever considered a dangerous part for a débutant. Prejudice is born of admiration, and it is never more likely to be fatally exercised against an actor than when he is thought to intrude upon a ground, hallowed by the late presence of the object of our veneration. We

have seen the Brutus of Mr. Warde, which we || jacket, and the mad, though soaked farmer, is confess to be an even, respectable, and, in parts, a dignified performance. It is one of those efforts which induce us to hope for better success in a less elevated sphere. Cooper's Cassius is distinguished for its energy and correctness throughout. Of Kemble's Antony, we need not say it is worthy his fame.

taken to a neighbouring hut. His daughter, Lilla, supposing him dead, comes to his place of abode, followed by her husband-the father discovers himself, fires a pistol (but not fatally) at Captain St. Phar, when Lilla faints. Brenhold, supposing he has killed his daughter, instantly becomes sane; when assured of her safety, a worthy clergyman, Ehrenberg (Coo

Mr. Warde as the Duke Aranza, in Tobin's comedy of The Honey Moon, pleased us infi-per) enters, and by a little wholesome advice

nitely more than his Roman stoic: in the Spanish nobleman, there were graceful urbanity, intelligence, and good feeling. His scene with the humbled Duchess, where he brings her to the cottage, was eminent for its good keeping. Mr. Warde is an acquisition to the establishment, and we doubt not will become a great favourite. Keeley's Lopez was an amusing little sketch; but surely some one with more solid pretensions to comedy could be found than Mr. Meadows for Jaques : this gentleman is the sorriest grimacier that ever pretended to make the world merry. Blanchard's Lampedo, though a little extravagant, was whimsical; and Mr. Baker, as Montalban, was as innocent of any thing approximating to grace or ardour as usual. Miss Chester may look a queen-we wish she could play a Duchess: Juliana is, however, too intellectual for the actress; but Miss Chester smiles, and she passes sans reproche. Mrs. Chatterley made her first appearance as Violante, and was well received.

reconciles the father to his son-in-law. Universal happiness blows the prompter's whistle, and the curtain descends.

The acting of Fawcett was equal to his efforts in Clari; and Cooper contributed infinitely to the success of the piece. Miss Paton played and sang with great effect. Indeed, although the melo-drama is tolerably compiled, every praise is due from the "author" to the exertion of the actors. The piece was favourably received.

The comedy of Rule a Wife and have a Wife, with Mr. Charles Kemble as Leon, and Miss Chester as Estifania, has been revived with great success.

HAYMARKET.

Paul Pry has been played since our last with but little intermission. The only novelties which we are called upon to notice are the appearance of a Mr. James Vining, as Octavian, in The Mountaineers, and a new farce, called The Epaulette. Of Mr. Vining we are inMr. Planché, who has a very tolerable tact clined to think favourably; he has a prepossesat dove-tailing translations and furbishing up sing figure, a good voice, and there was a pre"ancient" plays (although we would not trust vailing intelligence throughout the character, him with any thing of greater consequence) which assured us the actor entered wholly into has produced a melo-drama, confessedly from the spirit of his author. His scene with Flothe German, called Lilla. If variety be charm-ranthe, and the meeting with Bulcazim Muley, ing, then is Lilla the most delightful melodrama we have witnessed for a length of time; love, madness, singing and dancing, the view of a very fine cataract, &c., are all to be found in Lilla. The plot is briefly as follows: Brenhold, a Silesian farmer (Fawcett) has the same profound hatred of the French as one of our worthy admirals, who piqued himself upon his entire ignorance of a single syllable of their language. His daughter, Lilla, very undutifully falls in love with a Frenchman, Captain St. Phar, and about the conclusion of their honey-ment during the last month. moon the curtain is supposed to rise. When Brenhold learns his daughter's marriage, he becomes most exquisitely mad-deranges a corner cupboard, and, indeed, demolishes as much || Bartley, in his capacity of stage-manager, adearthenware as, we are informed in the song, the bull did of yore in the china-shop. After his combat with mugs and pipkins, Brenhold jumps off a high cliff into the sea; but his good genius is of as much service to him as a cork

were decidedly the superior points throughout the performance. Mr. Vining will, no doubt, succeed well in the second line of tragedy; more we would not prophesy. W. West's Sadi was bustling and vivacious; if it had any fault, it was that of similitude to the style of Harley. Miss P. Glover played Floranthe, and gave to the character that meek tenderness and unaffected feeling which eminently particularize the efforts of this rising young lady.

Great success has attended this establish

ENGLISH OPERA-HOUSE.

This Theatre has closed since our last. Mr.

dressed the audience; when he assured them that the season had proved most productive, and that novelties were, even at that period, in preparation, to be brought forward in the succeeding campaign.

FRENCH THEATRICALS.

THEATRE FRANCAIS.-Première représentation de Lord Davenant, drame en quatre actes et en prose.

THE subject of this drama is evidently taken from the Stella of Goethe, an author who is said to have caused more tears to be shed in Germany, than all other dramatic authors put together. The most critical situation of the principal character is the same-a man who has married two wives and forsaken one, finds himself, after a series of events more or less improbable, in the presence of both; but in the French piece, the dénouement is quite different, || as will be seen by the following sketch.

of since. Three years after, presuming she was not alive, he paid his addresses to Lady Dirmont, and yielding not only to his own inclination, but also to the King's commands, he married her. He learned afterwards that Cecilia was not dead, and this news threw him into that melancholy state which appeared so inexplicable. When proceeding to the Admiralty, his carriage met with some obstruction in the street, and while he was thus detained he heard a piercing scream, and on looking out he saw at a window a woman fainting, and recognized Cecilia.

His friend Henry advises him to do nothing hastily, and observes that, as all enquiries about him must be impeded by the difference of carriage, livery, and armorial bearings, there will be time enough to advise on what is to be done.

Davenant remains in anxiety; and his distress of mind is increased, when his son Charles arrives, and asks his consent to marry a young widow, in every respect worthy of his affection; and it turns out that she is no other than Cecilia. He forbids Charles to think of that union.

When the piece opens, Lord Davenant lives in the bosom of a loving family, enjoying a large fortune, high dignities, and all that can make a man happy. Still the peace of his mind is occasionally disturbed by fits of deep melancholy, the cause of which no one can find out. As it is the birth-day of his wife, he resolves to restrain his feelings, and prepares extensively for its celebration. There is a great bustle in the house; an illumination and a fire-work in the gardens are in readiness; an elegant and Meanwhile Dormir, who has obtained his numerous company are invited, and Lady Dave-promotion through Lord Davenant, is the bronant shines in the éclat of her beauty as well as her splendid attire. The entertainment is on the point of beginning, when a letter is brought to Loid Davenant from Admiral Dormir, who having rendered him great services, and knowing his high credit with the ministry, begs his intercession to obtain a command just vacant. Lord Davenant orders his carriage immediately to go to the Admiralty; and as it is not ready, he accepts the offer of his bosom friend, Sir Henry, who has just arrived, and goes away in his coach. He soon comes back; but he first shuts himself up in his closet, and afterwards, to avoid all inquiries, he leaves the house. An old servant follows him, and having found him on the bank of the Thames, he succeeds in bringing him back.

Lord Davenant now reveals to his friend Henry the secret of his situation. After the death of his first wife, by whom he had his son, Sir Charles, he was sent on a secret mission by Government to Boston, where he assumed the name of Sanders. There he married Cecilia, a young person, whose only relation was a brother then serving in India. When he had fulfilled his mission, he was suddenly recalled to England; and, in order to remove all traces of his diplomatic agency, he was ordered to spread a rumour of his own death. Some time after he wrote to Cecilia, but she had left Boston, where she had not been heard

ther of Cecilia. He is anxious to avenge the injury done to his sister, and being deceived by the armorial-bearings and livery, he believes that Sir Henry is her unfaithful husband, and provokes him to fight. He pays a visit to Lord Davenant, not only to return him his thanks, but also to request his protection for his sister, who goes with him, and is waiting in another apartment for the decision of his Lordship. Lady Davenant comes in with Sir Charles. The latter, meeting Henry, abuses him; and Lord Davenant, to exculpate bis || friend, is about to declare himself; but Charles, to confound his adversary by an, incontestable testimony, runs out of the room and quickly returns with Cecilia, who, recognizing Davenant, exclaims, "Sanders!"

This scene, ably managed, ends the third act. In the fourth, Davenant, in his despair, says he will go to the Continent with his son and his friend. Cecilia resolves to repair to a convent in France. In the mean time the King confers new favours on Lord Davenant, who declines accepting them, and recommends his son. He delivers to the King's officer a box, containing all the insignia of the orders he had been decorated with, and then enters his closet, the door of which is left open. All eyes are fixed on that door. Davenant grasps his sword and plunges it in his heart. All exclaim, "he is dead!" and the curtain drops..

The drama succeeded very well, notwith-authors were called for and given; but the standing the frigidity of the first act, the intri- audience were not satisfied with hearing that of cacy of the plot, and the multiplicity of inci- young Liszt; they insisted on seeing him, and dents. Its success in that and the subsequent the boy was brought to the proscenium, and representations, has been produced no doubt by greeted with universal plaudits and acclamations. that sort of interest which an extraordinary event, ending in a dreadful catastrophe, never fails to excite in a crowded assembly.

The names of the authors were called for: but Michelot, the actor who had performed the part of Davenant, returned and stated that they wished to remain unknown. A wag in the pit observed that Michelot was dead, and therefore that another spokesman ought to have been chosen to deliver the message.

ACADEMIE ROYALE DE MUSIQUE.-Première représentation de Don Sanche, ou Le Château d'Amour, opéra en un acte; paroles de MM. Théaulon et de Rancé; musique du jeune Frantz Liszt, âgé de 13 ans.

The authors of the poem have declared, in a preface, that their sole object had been to provide for the young composer of the music a variety of scenes, which might enable him to display his genius and fancy in a diversity of moods; and that in this case they had rendered poetry subservient to music.

FINE ARTS' PUBLICATIONS, &c.

The Duchess of Newcastle.-From a portrait of Her Grace Elizabeth Georgiana, Duchess of Newcastle, painted by Sir Thomas Lawrence, in his first style of excellence, Mr. S. W. Reynolds has executed an engraving in mezzotinto, worthy, in every respect, of the simple, beautiful, and dignified original. Altogether, it presents a combination of taste and elegance rarely witnessed.

Madonna and Child.-Mr. T. Landseer has produced a very fine engraving from one of Correggio's drawings under this title. The lights and shades and half-tints are, with the general style of the original, happily preserved.

The Reading of a Will.-Most of Wilkie's productions, resembling, in some measure, those of Hogarth, abound in detail: the artist is ever sedulous in producing great variety of character-in displaying the passions and emotions of our nature in their different modes of operation on differently-organized and difThe music of this piece was, in fact, the only ferently-circumstanced individuals. The Readobject of curiosity, and a very short accounting of a Will, which has been lately engraved will suffice. Alidor, a magician, has erected by Mr. J. Burnett, is a case in point, and must in a forest a beautiful château, where knights- not only arrest, but interest and gratify every errant and beauties receive hospitality upon beholder. The original has long been known; one condition-they must be in love and be and in placing well-executed copies within the loved. The handsome Don Sanche is in love reach of the general purchaser, Mr. Burnett with the proud Elzire, who rejects him; and has at once obtained additional credit for his Alidor, who takes him under his protection, own talents, and conferred an obligation upon knowing that Elzire is going through the forest, the lover of the arts. Maximilian Joseph, the raises a storm. She perceives the castle, and King of Bavaria, who died in his seventieth asks there a shelter against the shower and year, about the middle of the past month, had thunder; she is apprized of the condition, and for some time been the possessor of the paintrather than confess her passion, she prefers to ing; and, therefore, the engraving was, with be wet to the skin. Alidor then comes, under much propriety, dedicated to that sovereign. the garb of a ferocious warrior, and claims the We will just venture the remark, that, had the hand of Elzire; Don Sanche opposes him; execution been invested with more lightness they pretend to fight, and doleful screams an- and freshness of style, the force of the painter's nounce his death. Elzire confesses then that conceptions would have been more effectively she loved Don Sanche, who re-appears, as safe conveyed. The engraving, however, is of a and as passionate as ever. very meritorious character.

The music was listened to with the utmost attention; and, considering it as the first essay of its author in the dramatic line, it has great merit. The overture, an aria of the magician, and two romances, have been particularly admired; and in some of the chorusses and concertant pieces, the instrumental part is said to be handled in a manner which would do honour to more experienced composers.

Red Riding Hood.-The lithographic art is, in competent hands, capable of producing very agreeable effects; but, as it is generally exercised, it rarely, very rarely, satisfies our taste. An instance to the contrary presents itself in the specimen before us, painted and drawn by H. P. Bone. This shews us exactly what lithography ought to be; and, if its execution were always equally successful, the art would When the curtain dropped, the names of the become extremely valuable: it would indeed

||