1825.] 
cited, as to resist for more than a few even- 
ings the increasing temperature of the 
atmosphere. The great heats, indeed, came 
most unopportunely for these dog-day win- 
ter speculations. They must have had 
confidence indeed in the doctrine that 
plagues and desolating fevers are only to be 
generated by actual contact with persons 
and apparel imported from Smyrna and 
Constantinople, who would brave the ma- 
laria of a crowded winter theatre when the 
thermometer was at 100°. Covent Garden 
shut up, therefore, on Tuesday 19th, and 
Drury Lane, on Thursday 21st July. 
The recess at both will be short: Covent 
Garden opens again in the middle of Sep- 
tember. There will be, we understand, 
many changes in the company. Among 
the discharges are Miss Love, whose place 
is,to be supplied by Mrs. C. Jones; Mrs. 
Pearce; and Mr. Connor, who is to be 
succeeded by Mr. Power, of the Adelphi 
and English Opera. 
The Haymarket, which, though built for 
summer ventilation, has been: somewhat 
annoyed by so long a hot winter, is now in 
its glory. The temple of laughter-loving 
farce and humour! its rites, of course, 
wanted their due splendours, while the 
officiating high priests were detained in 
rival regions—but Liston has been for 
some time in his proper sphere, and Har- 
ley is now in his train, and Mrs. Gibbs has 
come again to what may be called her home : 
W.. Farren has brought his dry humonr also 
—though we question, for this theatre es- 
pecially, whether it is a good exchange for 
the natural jollity of Dowton; or for that 
strong impassioned acting, either, of which 
our comedy occasionally admits some 
mixture; and which, especially, attains 
most its end by not looking like acting at all. 
‘He is however the best Lord Ogleby we 
have seen since the days of Tom King. 
Mrs. Glover continues her wise course of 
Theatrical Review.— Music. 
69 
accommodating her Jine of eharacters to: her 
time of life. The appropriate impropriety 
of Mrs. Malaprop will add to her repu- 
tation in this way ; and her Mrs. Heidelburgh 
will support it. Vining continues to im- 
prove in his line of mercurial and eccen- 
tric character ; and when put into parts not 
suited to his vein, has the good sense to 
walk through them in a quiet respectable 
way; and not to pervert or caricature, by 
laboured attempts at what is not in his 
grasp. But Mme. Vestris is undoubtedly 
the star of this little sphere. Midas (the 
first and best of our burlesque operas) has 
been brought out here in order to shew her: 
in Apollo; but even in an artist-like point 
of view, the exhibition is not quite equal to 
her Ariel; and we have heard her more 
happy insong. But Midas, as got up here, 
is altogether a high treat in its way. 
The English Opera House has opened 
with unusual éclat. Miss Stephens is her- 
self a host; and Miss Kelly another. The 
unrivalled sweetness of the voice of the 
former, and the inimitable natural acting 
of the other, cannot fail to produce attrac- 
tion whenever their efforts are united. We 
wish, however, that the latter would recol- 
lect that she has no voice for song, and not 
break the charm, by ill singing, which she 
spreads over us by the most perfect acting 
we ever witnessed. The new opera, Bro- 
ken Promises has been deservedly very suc- 
cessful. The piece has itself considerable 
merit. Independently of the stage’s sweet- 
est warbler Stephens, it is no small treat 
to see on the boards at once three perform- 
ers, acting so completely as if there were no 
acting in it, as Wrench, Power, and Miss 
Kelly, in some of the scenes of this drama. 
Miss Stephens’s engagement is, we believe, 
at an end. She is to be succeeded by Miss 
Paton—though not the sweetest, by far the 
most brilliant vocalist! Braham also re- 
appears. 
NEW MUSIC. 
“ Faustus.”” Goulding, &c.—The music 
of this drama is a partnership composition 
of Messrs. Bishop, Horn and Cooke. We 
regret that Mr. B. admitted any coadju- 
tors, for there is, with, perhaps, one excep- 
tion (a Trio, by T. Cooke), so evident a 
superiority of style in his music, that the 
common-place style of some of the other 
pieces quite annoys us. 
The overture to Faustus, is bold, origi- 
nal and beautiful, but not a little difficult. 
__ The opening glee and chorus by Bishop 
is highly characteristic ; the subject of the 
little simple ballad, which we named in our 
last number, is sweetly harmonized, and 
forms a burthen which connects the open- 
ing scene with the body of the piece. 
“ Go, sech some Virgin Heart.” Quar- 
—<=>—. 
tetto. H. R. Bishop.—A very elegant 
composition of a superior order ; the legato 
accompaniment for a violoneello obligato 
is beautifully plaintive in the slow move- 
ment. : 
“ The Hour is Come that We must Part.’ 
Ballad. H. R. Bishop.—This, though a 
pleasing «air, possesses perhaps the least 
merit of any of Mr. B.’s compositions 
throughout the opera; there seems a want 
of tact in the adaptations of the poetry. 
“ I’m apoor German Scholar.” Song. C. 
Horn.—Mr. Horn has succeeded well in 
this air, which is above the common run of 
humorous songs. There are some parts 
of it which, we are convinced, Mr. Horn 
has borrowed, though we cannot exactly 
point out the source. : 
“‘ Now 
