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ripe loveliness so piquant, that we care very little whether she correctly copies the manners of "the Faithful."

Mr. Kemble made a great stend in Othello, considering how tremendous the part is, and how much some of his excellences are against his satisfying our conceptions. In all his tragic acting there is a spirit of youth, a buoyancy of voice and manner, which time has not tamed down, and which always characterizes his passion when he is in earnest. He goes on gaily to joy or danger, gallantly to sorrow; striking right home, or bidding high defiance to tyranny or fate. But, for the same reason, he cannot so well display emotions of elder growth; the fervid deadly struggle of feelings, whose strife is within; or the lingering farewell to the glory and pride of life. His noble countenance is not Moorish, and, by the marble grandeur of its outline, belies the burning words which issue from his lips. His performance was throughout indicative of thought and good taste, and invariably graceful; he was an officer generous, capable of tenderness, jealous, and despairing; but he was not of the torrid zone; he was not " declined into the vale of years;" he was not "eaten up with passion." All the early scenes were extremely well spoken and played, except that the rebuke to the revellers on the watch was too loud-men invested with absolute power issue their commands and rebukes more calmly. In the first scene of the third act he showed great judgment in abstaining from the error common to almost all the Othellos whom we have seen, of instantly being moved to distraction by Iago's hints; and the second scene-the chief test where his scor

pion passions are armed-was given with great power, though rather physical power directed by excellent discrimination, than internal power inspired by real emotion. This was the defect throughout, and was chiefly felt in the want of those little touches of agony, those strangely mingled tones of love and hate, which we have felt redeeming the strangeness of the whole plot and the horror of the catastrophe; but the effort was one which, if addition were needed, would add to Mr. Kemble's fame. He was very indifferently supported. Iago is less within Mr.

Mr.

Warde's grasp than any part he has yet attempted: he seemed to have no idea of it, right or wrong; but spoke the words with a due portion of trickery and plain no-meaning. He was neither plausible like Young, nor desperately malignant like Cooke, nor gay and insinuating like Kean: his sarcasms did not blister, his professions could not deceive. He plied Cassio with wine like an attentive waiter; and treated Othello and Roderigo with equal disrespect, lecturing or obviously playing upon both. Cooper, as Cassio, was very drunk indeed, even before Mr. Warde handed him his wine, and sung to him; far too drunk to quarrel or fight; so that Iago seemed (as, indeed, he did throughout the play) to be defeating his own purpose, by over effort. Mrs. Fawcit was very unlike the Emilia of Shakspeare-far too like a tragedy queen; and Miss A. Jones, though a very pretty heroine of Farce, is utterly inefficient as the representative of the divine Desdemona. Why, in this dearth of young and sensible actresses, the managers pass by Miss F. H. Kelly, we cannot imagine. She would be a charming Desdemona; and we are persuaded, if she had played this part after Juliet, instead of appearing in new plays of doubtful promise, she would have taken a hold on the public mind, which no jealousies or partial failures could have shaken.

A gentleman has appeared as Macbeth, and given a fair reading of the part, which he was unable to embody. As he appears to have withdrawn, probably to gain experience and strength, we should think it very idle cruelty to dwell on a performance, to attempt which, only showed too ardent a disposition, and to fail in which, can be no discredit to the talents of a beginner.

Mr. Serle, for whose success we expressed our anxiety last month, has played Jaffier with great judgment and feeling; but too late in the month for particular criticism. The times are not very auspicious for tragedy; but we feel. assured that, if a trial were allowed him in Leon or Shylock, he would be found more than to fulfil the promise which his Hamlet has given at least if the opinion of Talma be of any value.

1826.

KING'S THEATRE.

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MUSIC.

On the 7th January, the performances at this theatre began, as they had concluded last season, with Meyerbeer's "Il Crociato in Egitto." With regard to the music of this opera, therefore, we can have little to add to the ample accounts which we gave in some numbers of the New Monthly Magazine of last year. But in the cast of the characters, as well as in the personnel of the establishment in general, various changes have taken place, to which it behoves us to advert.

As a matter of record in the history of music, we may be permitted to state, that an Italian company of opera-singers has for the first time been conveyed to the United States, in autumu last, and is at this time performing with success in New York. Among these are Signor Garcia and his daughter, of whose first appearance on our boards last season we spoke with the interest which her rising talent had excited. Her removal to America, however profitable to the sire, must be detrimental to her advancement in the line she has chosen. There, Mademoiselle Garcia can learn nothing farther: she will meet with no superior artists, from whose science, manner, and style, she can derive any improvement; face no audience whose applause or criticisms can contribute to the amelioration of her taste or science, or of any of the qualifications with which Nature has gifted her. The sooner, therefore, this promising young lady returns to Europe, the better it will be for her future career as a singer.

Besides the departure of the two Garcias, Remorini, to our great regret, has also withdrawn from the King's Theatre; and Madame Ronzi de Begnis has left us for Italy, to re-establish her health and voice, which latterly had suffered materially in our variable climate.

In the Orchestra, too, at the King's Theatre, many alterations have taken place; few, indeed, for the better. Some deserving and competent individuals have been discharged, and, upon the whole, not replaced by any thing like superior talent; and the absence of Signor Mariotti, one of the very first Trombones in Europe, and one of the main pillars of the band, is deeply felt. A number of these vacancies have been filled up with lads from the Academy of Music in Tenterden-street; a measure which unquestionably must contribute greatly to their advancement in the art; but unfortunately our ears pay in the meanwhile for the improvement of this rising tuneful generation. Mr. Bochsa, from the same academy, has also, we are informed, been

Feb. VOL. XVHI. NO. LXII.

enlisted, to conduct the musical department; and Madame Cornega, who is stated to have hitherto taught singing at the said Musical Academy, and of whom we shall speak hereafter, has been brought to the boards at once, to supply Mademoiselle Garcia's place in the "Crociato." Signor Velluti not only retains his station as first Soprano, but has a prominent, if not the principal share in the direction of the musical department. The latter office could not be in abler hands; indeed, the effect of his zeal and great skill has been manifest in the very few representations that have been given. But, greatly as we appreciate Signor Velluti's accomplishments and taste as a singer, and highly as he stands in point of character, his re-engagement as a performer on the boards, is to us, and to a numerous portion of the frequenters of the Opera, a matter of sincere regret. Waving even the painful consideration of the visitation of Nature to which we owe the peculiarity of voice in male-Soprani, supposing even voices of this kind were to be procured among our sex without the outrage to which they owe their existence, their introduction in the vocal drama would still be unnatural and destructive of all illusion. To hear the gallant Knight of the Cross, or the valiant Tancredi, proclaim their heroic deeds in treble pipes, or even express manly sentiments of love and attachment in the acute sounds of the additional keys, is preposterous and ridiculous, whether such sounds proceed from eunuchs, or from females in male disguise. Let us have Nature; let us have all that Nature will afford for our enjoymentmental or physical. What is beyond, is evil. Surely the sources and variety of legitimate enjoyments are ample and inexhaustible; and rational and well-conditioned minds turn with loathing from any attempt to transgress the boundaries of Nature. Besides, if we consider the very few Operas of more modern date in which -thanks to a better taste and feeling-the introduction of such unnatural characters -male, or female in disguise-has beer resorted to, the loss cannot be great, if we dispense with them altogether, rather than afford, perhaps, temptations not only for new compositions of a similar description, but for a revival of a barbarous practice nearly extinct.

Having said thus much on a subject which we would much rather have passed over in silence, we proceed to the Opera itself, in which a considerable change of parts has taken place. The part of the Sultan, which last season had been per

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formed by Remorini, was assigned to Porto; the Vizir, previously by young Crivelli, who is also gone to America, was enacted by Monsieur Deville, with little difference as to effect; Felicia, played by Mademoiselle Garcia, was done by Madame Cornega; and Palmide, the principal female part, in which Madame Caradori had earned so much and so well merited applause, was represented by Mademoiselle Bonini, a prima donna of some reputation on the Continent, who had never before sung in this country. Velluti, Curioni, and Madame Castelli, sustained their respective parts as before.

Signor Porto's qualifications as an actor are not equal to the part of the Sultan. His utterance and pronunciation are defective, and his intellectual organization is not adapted to pathetic expression. He knows music well enough, but such a double-bass voice as his is seldom capable of giving the more delicate colourings of a musical part. But we must do Signor Porto the justice of admitting, that he lent his best exertions to the character; and when a man zealously does his best, praise is due to him. In the concerted pieces, his deep bass was very effective: and in the Quintett, his low and sonorous E b, at the cadence, told admirably.

Madame Cornega's Felicia was respectable. This lady is past the prime of life: her voice is too feeble for the extent of the King's Theatre, but it is well cultivated; her style of singing and musical conception are sufficiently good, although frequently ineffective, from want of physical power. Her acting was fair, upon the whole, without being very impassioned. There seems to be a cold steadiness in Madame C.'s organization, which makes us doubt whether Italy be her native country. The part itself is rather flat, and would require more spirit and deeper feeling than Madame Cornega has at command, to render it impressive. The favorite romance, "Giovinetto Cavalier," which has risen to almost Freyschutz popularity, did not excite much sensation; and the fine Terzett into which it merges, and in which Velluti ought to have joined, was very coolly omitted altogether, when we attended, as well as on a subsequent representation. As all the parties were in their usual voice, we can only marvel at the bonhommie of an audience that will put up with such whims. We have since been informed that the omis sion is owing to Velluti's reluctanee to come into vocal contact with Madame Cornega, of whose qualifications to sup

* Madame Cornega, we understand, is a native of Poland.-Ed.

port him he entertains no flattering opinion. Before giving an opinion of Mademoiselle Bonini's Palmide, we cannot help expressing the deep regret we felt at seeing the part taken away from Madame Caradori, who gave universal satisfaction in it last year. We are quite at a loss to conceive the reason of such a proceeding, which must prove detrimental to the harmony essential to the interests of the establishment, and infinitely discouraging to the party supplanted. But disappointed as we felt, we shall not suffer the circumstance to influence our critical impartiality. We shall consider the exertions of Mademoiselle Bonini, as if she had not had a successful predecessor in the part. Without depending upon the information of our glasses, our ears even told us that this lady's age is beyond the meridian of vocal freshness. As indisposition prevented us from attending the theatre more than once, we may on further observation see occasion to qualify our opinion. But, judging from one performance, we feel warranted in stating our belief, that Mademoiselle Bonini must have been a sweet and very interesting vocalist, even a few years ago. As in the case of Madame Colbran, the gifts still in existence have their value, and even their charms. The voice of Mademoiselle Bonini is a fine, clear, silvery and penetrating voce di petto, not at all dissimilar to Madame Camporese's; and when not impeded by active passages, that is, when brought forth in more simple strains, the ear listens with pleasure to the sweetness of their sounds. But in venturing upon divisions of crowded bars, or upon active embellishments, the notes are blended in confused utterance, and the delivery is indistinct. This is the invariable result of the inroads of time upon an instrument of such complicated mechanism and exquisite delicacy of structure as the organs of the human voice; and, without mentioning names, has been observed in the execution of many vocalists still amongst us, and of others that have recently left our shores. How can it be otherwise, when we behold the same effects of time in pianofortes, and in other instruments of complicated action? As an actress, Mademoiselle Bonini's powers are neither of first-rate eminence, nor absolutely mediocre. The part, in Palmide at least, is sufficiently supported by her to be satisfactory, and even occasionally interesting; but, as far as our observation went, we should scarcely advise her to undertake decidedly pathetic characters. In Semiramide, Donna Anna, Desdemona, and even Ninetta, we should fear a failure.

1826.

Varieties.- Great Britain.

Upon the whole, the performance of Il Crociato, this time, was inferior to that of last season; although in one or two particulars we observed a striking improvement. The chorus singers must have been well-drilled, and better selected. They were much more correct and effective than last year; owing, as we understand, to the great and indefatigable pains Signor Velluti devoted to their instruction. The band of wind instruments too, employed on the stage, was infinitely more efficient, and in tune, than on any previous occasion. The trumpeters on the Walls of Damietta, above all, were perfection itself. Their lusty flourishes, falling in amidst the evolutions of the Orchestra, were quite electrifying; and no military man should miss the opportunity of enjoying such a treat, as he may never hear the like again. The princi pal trumpeters have actually been brought from Italy, to flourish in the Haymarket; and, conscious of their powers, flourish they do with such might and mettle, that the side-walls of the house, after having withstood such blasts-blasts which might have hurled down the ramparts of Jericho -may well scorn the recent calumnious reports of their unsoundness. It looks rather comical, to be sure, to see the trumpeters of the Saracen monarch stuck on the turrets of his fortress, with a sheet of music-paper each; but the perfection of such brazen virtuosi could not be had without such artificial aid. All this accessory improvement is also the work of Signor Velluti, and he deserves our thanks for it.

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Would there were as intelligent a superintendant in the Scenic department, in which a sad want of historical and geographical knowledge is often perceived. In the present opera, for instance, the chapel of the Knights of Rhodes is in the style of ancient Egyptian architecture of the era of Psammis and Cephrenes; and in representing a view of the placid and sluggard Nile, near Damietta-a country just as flat as Holland - the cataracts and dreary mountains of Upper Egypt have been conjured down to the shores of the Mediterranean. Surely there must be some one in the interests of the establishment that knows better, and might be consulted upon matters of this kind.

With regard to the Ballet, we shall do no injury to the concern, by postponing our account of this department to the ensuing month. Mr. D'Egville is the ballet-master, and his skill and good taste have stood the test of inany former seasons at the King's Theatre; but the short notice he had for his arrangements could not have enabled him to allow the proper scope to his talents. He has, therefore, in great haste concocted a trifle called "Justine, on la Cruche Cassee," (absit allusio) of the slender merits of which he felt so fully convinced, that he thought it necessary to make strong apologies in an address to the public. Among the new engagements, Mademoiselle Brocard, alone, made some impression; more, however, by her personal attractions, than by first-rate attainments in her line.

VARIETIES.

Proceedings of the Royal Society-The sittings of the Royal Society were resumed for the season on Thursday, the 17th of November, at which meeting a paper was communicated by Dr. Davy, entitled "Observations on the Changes which have taken place in some ancient alloys of Copper."

At the same meeting a paper was also read, entitled "Observations of the Apparent Distance and Positions of 460 double and triple Stars, made in the years 1823, 1824, and 1825, together with a reexamination of 36 Stars of the same description, the distances and positions of which were communicated in a former Memoir, by James South, F.R.S."

Thursday, Nov. 24. A paper was read, entitled "An Account of the Construction and Adjustment of the new Standard of Weights and Measures of the United Kingdom of Great Britain and Ireland," by Captain Henry Kater, F.R.S.

Wednesday, November 30, being St. Andrew's day, the Royal Society held their anniversary meeting. After the auditors had made their report relative to the accounts of the Society, the president informed the members that two Copley medals had been awarded by the council, the one to M. Arago, of the Royal Academy of Sciences at Paris, and F.R.S.; and the other to Mr. Peter Barlow, F.R.S., Professor in the Royal Military Academy at Woolwich.

The Society then proceeded to the election of a Council and Officers for the year ensuing, when the following members of the Old Council were re-elected:

Sir H. Davy, Bart., Francis Baily, Esq., William Thomas Brande, Esq., Samuel Goodenough, Lord Bishop of Carlisle, Davies Gilbert, Esq., J. F. W. Herschel, Esq., Sir E. Home, Bart., Capt. H. Kater, John Pond, Esq., W. H. Wollaston, M.D., Thomas Young, M. D.

The following members of the Society were chosen into the Council:

John Barrow, Esq., John Bostock, M.D., Sir Astley Cooper, Bart., B. Gompertz, Esq., S. Groombridge, Esq., Sir A. Hume, Bart., Daniel Moore, Esq., Richard, Earl of Mount Edgecumbe, P. M. Roget, M.D., James South, Esq.

Officers for the ensuing year:

President, Sir H. Davy, Bart.; Treasurer, Davies Gilbert, Esq.; Secretaries, W. T. Brande, Esq., J. F. W. Herschel, Esq.

December 2.-A paper was read, entitled "Additional Proofs of the Source of Animal Heat being in the Nerves," by Sir E. Home, Bart., F.R.S.

Astronomical Society. At a late sitting, the President called the attention of the members to the remarkable circumstance of the appearance of four comets since the Society last met, an occurrence unparalleled in the history of astronomy. The fourth, which had been the object of anxious solicitude at every observatory, was discovered about July or August last. This comet, better known by the name of the Comet of Encke, had now made thirteen revolutions within the last forty years; six of which had been observed by astronomers. It was first seen in 1786, afterwards in 1795, 1805, 1819, 1822, and in the present year. It makes a complete revolution in about 1207 days, or about three years and a half. A paper was read, "On the Latitude of the Royal Observatory at Greenwich," by the Astronomer Royal: the same paper includes some remarks on observations upon the pole-star, and an interesting circumstance: "The undulation to which a mass of mercury is liable, even with the greatest care, is in itself considered unfavourable to the exact bisection of an image; but a circumstance occurs in the formation of the image in the telescope, which in some measure compensates the inconvenience. The vibrations of the mercury in a longitudinal trough occasion an elongated image of the star in the direction of the wire, appearing like a succession of stars, which become smaller as they recede from the central undefined mass, exhibiting an appearance like beads threaded on the wire, which is extremely favourable to bisection." A letter was read from Mr. R. Comfield, a member of the Society, to Dr. Gregory, describing an appearance noticed by him with a Gregorian reflector, power 350; and by Mr. J. Wallis, the lecturer on astronomy, with a Newtonian telescope, power 160, in reference to the occultation of Saturn, Oct. 30th. A paper was next read, "On the Determination of Latitudes by Observations of Azimuths

and Altitudes alone," by M. Lattrow, Assoc. Ast. Soc. Lastly, there was exhibited to the Society a model of one of the large reflecting telescopes, made by Mr. John Ramage, of Aberdeen; the reading of a descriptive paper, by Mr. Ramage, was also commenced.

Royal Society of Literature, Dec. 21.The paper read this day consisted of passages of memoirs, by Mr. Tytler, of Edinburgh, relative to the introduction of Greek literature into England; including sketches of the lives of those eminent English patrons and scholars, through whose exertions the monastic ignorance of our native schools gave way before the language of Homer and Demosthenes. Among the first and most liberal encouragers of Greek learning, was Humphrey, Duke of Gloucester, brother to Henry V. This royal "bibliomaniac of the dark ages," as he is styled by Mr. Tytler, earnestly laboured to banish the gloom of barbarism, in which England was in his time involved, by his own example, as an author and a scholar; by a munificent and enlightened patronage of contemporary efforts of learning, especially of such as were directed to enriching modern Europe with Latin translations of the Greek classics (a labour in which the learned of Italy were at that time largely occupied); but especially by forming collections of the best ancient authors. Of the latter mode, his present, to the University of Oxford, of above six hundred splendid volumes, written on vellum, and elegantly embellished with miniatures and illuminations, is a noble example. It is deeply to be lamented, that a single specimen only survives of this monument of Humphrey's taste and munificence: a beautiful manuscript, in folio, of Valerius Maximus; the rest, under suspicion of containing matter savouring of Popish superstition, having been sacrificed to the zeal or ignorance of the pious visitors in the reign of Edward VI. Mr. Tytler enumerates, as particularly patronised by Humphrey, Leonard Aretin, Piero del Monti, Petrus Candidus December, Lapus de Castellione, Tito Livio of Foro Julii, whom he constituted his poet and orator, and Antonio Beccaria, his secretary, whose translation of six tracts of Athanasius, undertaken by command of the duke, is among the royal manuscripts in the British Museum. The first whom Mr. Tytler mentions of those English scholars who studied the Greek language in Italy, then the only school of polite letters, are John Tiptoft, Earl of Worcester, Lord Chancellor to Edward IV., and John Free (or Phreas, as he is called by Leland). Tiptoft and Free, with Grey, Fleming,

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