Nature and Art, May 1, 1867. ] 
MUSIC AT HOME. 
155 
MUSIC AT HOME. 
T HE gentle Orpheus, emancipated from his winter trance, 
once more strikes the operatic lyre, and declares the 
musical season in full progress. Philharmonics, “ old ” and 
“ new ; ” Sacred Harmonic and Choral Societies, and all 
miscellaneous entertainments of sweet sounds, are very well 
in their way ; but the “ season,” in the strictly conservative 
sense of the word, commences on the opening 1 night at the 
Boyal Italian Opera, or Her Majesty’s Theatre, as the case 
may be. That all-important signal, the preliminary tap of 
the baton on the foot-lamps, was given by Mr. Costa on 
Tuesday, April 2nd. Mr. Gye certainly began well with 
Norma for the inaugural opera, and Madame Maria Vilda as 
the Priestess. Of all the new comers in 1866, she alone 
made a strong impression, a result due to her superb voice 
and faultless singing, for in the - matter of acting she was 
considerably below the standard. The 1 clear, ringing, sil- 
very voice, and the wonderfully facile execution, are here 
again ; but the dramatic Norma is almost as far off as 
before. Lucrezia Borgia we may expect to see repeated, 
and the particular ordeal for the artist to pass through will 
be Leonora, in Beethoven’s Fidelio, an opera included in 
Mr. Gye’s scheme for 1867. Strange to say, Madame Vilda 
had no bouquets cash at her sandalled feet ; and as those 
compliments are now so indiscriminately bestowed, she did 
not, perhaps, regret their absence. Two of the five gentle- 
men singers engaged for 1867 made their debuts in Faust, 
performed on the 4th. M. Petit, the Mephistopheles of the 
Lyrique, sings and acts with true French determination. 
He absolutely writhes before the cross-hilted swords which 
upset his demoniac composure ; and he adopts all those 
attitudes expressive of defiance, bravado, and sarcastic con- 
templation, which are theatrically associated with the scar- 
let-clad emissary from the lower world. He plays with the 
transformed philosopher as the sleekest of cats does with a 
mouse ; plausibly attentive to the ancient Martha, provok- 
ingly condescending to the lachrymose Siebel ; and he defies 
the entire crowd in the market-place with contemptuous 
energy. M. Petit may be accused of exaggeration, but 
n’importe, M. Petit is picturesque, and able to thoroughly 
realize the meaning of the “Dio dell’ or,” and the serenade 
“La che fai l’addormentata.” Signor Graziani’s, or Mr. 
Santley’s still fresher laurels, will not pale before the genius 
of Signor Guadagnini, who makes but a languid Valentino. 
L’Africa/ine introduced Signor Cotogni, another tuneful 
stranger, who has latterly been brought into excessive pro- 
minence by the success-mongers of Paris. He is, pro tern., 
the swarthy Nelusko, who, with the adored and adorable 
Selika, sinks into the long sleep under the fatal Mancanilla 
tree. The manager has secured the 'privilege of bringing 
out in London M. Gounod’s Romeo et Juliette, and Signor 
Verdi’s Don Carlos. Mademoiselle Adelina Patti is to sing 
the “ gentle Capulet’s ” sorrows; and Mademoiselle Pauline 
Lucca is to be the Elizabetta di Valois of M. Gounod. The 
exquisitely poetical garden scene in Faust has, of course, 
led ixs to expect great things of M. Gounod when he tunes 
his lyre to the strongest of all human passions — love. All 
remark upon the forthcoming, opera would be mere specu- 
lation, but upon one point the thousand tongues of rumour 
seem unanimous, and that is, the omission of the balcony as 
designed by that wonderful dramatic architect who rests 
peacefully at Stratford-upon-Avon. There will be a Nurse, 
but to that “ ancient lady,” as Mercutio calls her, young 
Juliet will not cry “ Anon, anon,” and steal back to the 
balcony under which Eomeo waits to speak his last good 
night. Signor Felice Bomani, Bellini’s librettist for I Capu- 
letti ed i Montecchi, ignores William Shakespeare, and 
makes the lovers meet in the “ marble halls ” of the period. 
Musical curiosity is thoroughly awakened as regards Verdi’s 
Don Carlos, and there is every opportunity for the composer 
to make another strong and enduring impression upon the 
English public. 
The laws of human nature and the spirit of commerce 
decree that “ two of a trade ” shall seldom agree upon all 
points, but upon one Messrs. Mapleson and Gye are in sweet 
accord ; they both predict that crowds of foreigners will 
cross the Channel, and tarry awhile in murky London. We 
certainly manage International exhibitions better than they 
do in France, little as we were disposed to admit the fact 
in 1862 ; and it may presently appear to the enlightened 
Hottentot, the Lapland connoiseur, the musical Maori, and 
other intelligent and unprejudiced foreigners “ from all parts 
.. of the globe,” that we are not behind the Gauls in the organ- 
ization of our Italian Operas. Mr. Mapleson prints his 
voluminous prospectus in blue ink, and the blue-veined 
aristocratic spirit flashes through the document from end to 
end. Her Majesty’s, once the “ King’s,” Theatre, “ instead 
of copying, still leads the way,” says Manager Mapleson, 
therefore must a grateful world bow down before the Druid- 
ical establishment in the Haymarket, and look upon the 
stuccoed temple of Bow Street as nothing more than a 
musical mushroom. Like another “ herald Mercury on a 
heaven-kissing hill,” or like the bird of la belle France in 
full crow, may the faithful (in their mind’s eye) perceive the 
manager of the “ old house ” revolving on its gigantic venti- 
lator, and proclaiming to the four winds of heaven the 
services to civilization effected within the walls beneath. 
Chignoned beauties in the drawing-rooms of Belgravia the 
blest, and of South Belgravia, nde Pimlico, will elevate their 
pencilled eyebrows when they read, in the document referred 
to, of George Frederic Handel’s Italian operas having been 
given in the old theatre, burnt down in 1788 ; and will be 
equally surprised to find, that Bossini, as conductor of his 
opera Zelmiru, Jxeld the baton over the wife of his bosom 
while she played the leading part. Mr. Mapleson enume- 
rates the composers and singers who have made or increased 
their reputation at Her Majesty’s, and dwells, with pardon- 
able pride, upon the fact of that fascinating creation, the 
Ballet, having been cradled in the old house. Candidly 
speaking, Mr. Lumley’sbold successor, has striven hard and 
conscientiously in behalf of high art, and certainly has 
glorious traditions to fall back upon. Verdi’s I Lombardi, 
near akin to a novelty after a sleep of fifteen years, is the 
opera for the first night, April 27th ; and the announce- 
ment of La Forza del Destino is evidently intended as a 
set-off against the attraction of Don Carlos at the other 
house. Spontini’s La Vestale i s to continue the classic 
chain already commenced by Medea and Ipliigenia. A young 
Swedish soprano, Mademoiselle Christine Nilsson, with a 
brilliant Parisian reputation, will try on the mantle of Jenny 
Lind here in London. With Mademoiselle Enequist, too, 
as a concert vocalist, the northern regions will not be badly 
represented. 
A. serious loss has fallen upon the musical world in the 
death of Alfred Mellon, at a comparatively early age. No 
orchestral conductor in this country, or elsewhere, had a 
more complete and intimate knowledge of all the great scores ; 
and no man of the time was his superior in that indescribable 
tact by which large orchestras are held together, and full 
justice is done to the noblest compositions of the old masters. 
As a composer, Alfred Mellon was but little known ; but as 
a really practical man, thoroughly versed in every detail of 
his profession, his name was a “ household word.” He was 
popular in every sense of the term, not only with the valse- 
loving public of the promenade concerts, but with amateurs 
of far more ' cultivated taste. With Alfred Mellon at the 
head of some most important societies, it was felt that we 
had a countryman as well, if not much better, able to con- 
duct classical works than many foreigners whose names 
might be quoted. He worked long and perseveringly for 
the high position he was enjoying at the time of his death ; 
and it will be long before the whole of the void he left will 
be adequately filled. He studied at Stuttgardt, under one 
of the strictest but best of masters, Herr Molique ; and it 
is not perhaps generally known, that in his younger days he 
