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THINGS THEATRICAL. 



MR. ARNOLD has succeeded triumphantly in his efforts to intro- 

 duce the genius of English composers to the English public, and we 

 are truly happy to second all the praise and wish him all the profit 

 to which he is so eminently entitled. English composers have been 

 hitherto strangers in their own land. With the exception of Bishop, 

 no one pretending to any rank in the profession has had the slightest 

 chance of success ; every attempt has been strangled at the larger 

 theatres, and then the old lying cry has been raised that we have no 

 talent in England. The two operas which Mr. Arnold has intro- 

 duced must have convinced the public that the fault does not rest 

 with English composers, but with the quacks of managers, who seem 

 to think any talent preferable to native talent. Wild beasts from all 

 quarters of the world and motley mountebanks have kept possession 

 of the national stage to the exclusion of such men as Mr. John 

 Barnet and Mr. Loder, who might have remained in obscurity had 

 they not fortunately found this field for their fame. It only shows 

 the positive necessity if our theatres are to be made profitable to 

 the proprietors and advantageous to the public that they should be 

 under the management of gentlemen and men of taste men who 

 can understand and appreciate genius, both dramatic and musical 

 who do not belong to that class whose highest ambition it is to copy 

 the very lowest and most licentious portion of the French stage, 

 without possessing the mind to grasp its higher and more intellectual 

 qualities. Until the proprietors of the national theatres think fit to 

 consider some other qualification necessary for a manager and lessee 

 than security for a sum of money, we despair of ever seeing the 

 drama rescued from its present degraded state. There can be no 

 doubt but that the English Opera House will now take the lead ; it 

 has every requisite to ensure success an excellent situation, and a 

 most beautiful interior a gentleman at the head of the management 

 of acknowledged taste and ability, and the choicest talent of the 

 country to aid his exertions. If this does not succeed, why,, we had 

 better turn our theatres into hospitals, aud join Sir Andrew Agnew 

 and Mr. Poulter. 



The opera we have to notice is called " The Mountain Sylph," 

 written by Mr. Thackeray, and the music composed by Mr. John 

 Barnett. The piece is taken from the celebrated ballet which 

 Taglioni has rendered so popular, with an addition, by which the 

 Sylph is restored to the world by her lover, who, like another 

 Orpheus, ventures into some demoniacal territories, substituting the 

 witchery of a magic rose for the enchanting lyre of the celebrated 

 artist of old. This we humbly conceive to be the weakest part of 

 the drama. What could enter the author's head to call those demons 

 by whom the Sylph is held captive SALAMANDERS ? We understand 



