230 ON THE PRESENT STATE OF THE OPERA IN LONDON. 



come by the composer in the manner already noticed in speaking of 

 Cosi Jan tutle. The assertion has not unfrequently been made that 

 music should be suited to the words ; but this precept requires to be 

 taken with considerable limitations. A great composer will rather 

 direct the adaptation to the subject and tenor of the whole than to 

 minute peculiarities. In other words, although the aim of the poet 

 and the musician be the same, yet should the latter by no means 

 slavishly attach himself to the march of the former, nor, indeed, 

 should he pursue similar means. That such was the plan adopted 

 by Mozart is apparent on examination of his works, whether we re- 

 gard separate portions (lyrically), or view each as a whole dramati- 

 cally. Frequently do songs occur pourtraying love, revenge, or 

 other passions, but feebly expressed and in commonplace terms, yet 

 the music so concentrates the idea of the poet as almost to amount 

 to a personification. And, again, he forms a dramatic whole by 

 working out the character in accordance with his own lofty and true 

 conceptions, instead of servilely following the meagre sketch of his 

 author. The three most important characters in this opera are Ser~ 

 vilia, Tito, and Sesto. Every genuine lover of dramatic music who 

 has heard Malibran sing Non piu dijiori, cannot but lament that the 

 world has been for ever deprived of the opportunity of witnessing 

 the personification of a character so admirably suited to the powers of 

 that unrivalled artiste as that of Servilia. Tito is painted with almost 

 historical fidelity ; his greatness and his clemency shine conspicuous 

 in every note. On hearing the celebrated Wild in this part, at a 

 small town in Germany, I became convinced that I had previously 

 formed an inadequate conception of its beauties. But Wild is, as 

 Malibran was, neither a mere actor, a mere singer, nor yet a combi- 

 nation of the two, but a real artist. I am of opinion that this opera 

 might be got up in a more artist-like manner with an entire Eng- 

 lish cast than would be possible with the present Italian company. 

 It will be unnecessary to enter into detail respecting the beauties of 

 particular parts of an opera better known, perhaps, than any other 

 of this author.* 



Of the Seraglio I am not aware whether an Italian version ex- 

 ists, but, be this as it may, this opera is by no means adapted either 

 to the performers or the audience of the King's theatre. Written 



• Parto ma tu ben mio, which occurs in the part of Sesto, has been sung at 

 the vocal concerts by Miss ShirreflT. A song less adapted to a female voice 

 it would be impossible to find throughout the whole of Mozart's works. It 

 is also advertised to be sung at the quartett concerts by Miss Woodham. 



