VIENNA.

THE JosephstÄdter Theater recently produced Donizetti’s Anna Bolena with little success; the LeopoldstÄdter Theater, however, was more fortunate in the production of a new opera, Die Liebe auf der Alm (Love on the Alm), the numerous performances of which were received with much applause. The music, by Riotti, is very melodious.

The concerts have been numerous; that of M. Benesch was very successful. He performed a concerto of his own composition, and Madame Benesch also distinguished herself, in a concerto of Kalkbrenner’s, as a finished pianiste. A new symphony by M. Joachim Hoffman, a composition of great merit, was performed at that gentleman’s concert. A concert has also been given by the Koutski family. Anton, the pianist, infused much expression into his play, which is more remarkable for solidity than brilliancy. Carl, the violinist, excited astonishment by a spirited performance, and the singer, Eugenie, delighted the audience with an agreeable, well cultivated voice, and very chaste style. Demoiselle Fanny Sallamon has also given a concert, at which her exquisite performances on the piano-forte were, as usual, enthusiastically applauded. Besides the above, there have been four very excellent concerts given by the Society of Musicians.

BERLIN.

KÖnigstadt Theater. On the 4th February Demoiselle Caroline Schechner, a sister of the celebrated singer of the same name, made her debut here as Emmeline in Die Schweizerfamilie. Her voice is clear and sweet, she sings with much taste and expression, and altogether gives great promise of future excellence. On the 26th, a new opera, Melusina, was brought out under the direction of the composer, Conradin Kreutzer. The music is very pleasing, being light and flowing.

M. Felix Mendelssohn has given two very brilliant concerts, particularly the last, which were fully attended. In these was performed a Symphony by Louis Berger, full of fine thoughts, clear in style, and very original. M. Mendelssohn played a capriccio of his own, a concerto in D minor of Sebastian Bach, and a sonata in C sharp minor by Beethoven. He is now on his road to London.

A grand concert has been given by M. Hubert Ries, consisting solely of classical compositions, which was well attended. He played a new violin concerto by Spohr, with uncommon precision, grandeur, and depth of feeling, and some compositions of Beethoven with M. Felix Mendelssohn and M. Ganz. Three concerts have been given by the Dutch virtuosi, MM. Brugt and Franco Mendez, and Madame Schmidt. The former is a distinguished singer, with a sweet, though not particularly strong voice, and great powers of execution. M. Mendez played some variations on the violoncello with neatness and good taste, but his tone on the lower notes is thin, and Madame Schmidt displayed more flexibility of voice than taste.

On the 26th February the Vocal Academy performed the Passion Music of St. John the Evangelist.

M. MÖser’s second series of concerts has commenced. The first concert introduced a well conceived overture by Taubert, and the second, the overture to King Stephen, by Beethoven.

At the last meeting of this season, which was to celebrate the anniversary of Beethoven’s death, we heard for the first time his Fest-OuvertÜre, ‘Zur Weihe des Hauses,’ a masterpiece in the fugue style, or rather an ancient theme, full of original ideas, such as could only occur to Beethoven. His piano-forte concerto in E flat major was performed by a Scotch virtuoso, Mr. R. MÜller, who has lately been playing with great success at the courts of Denmark and Sweden. In his style, Mr. MÜller distinguishes himself more by his conception and delivery of the intrinsic beauties of the composition, than by imitation of the popular pianists of the day. He shows the highest degree of his ability in the sonatas of Beethoven, in which the most difficult passages, when played by him, appear not as passages merely, but real musical ideas. If we were allowed to express a wish, it would be that Mr. MÜller should perform on a solid English instrument to which he has been accustomed, and which under his finger would truly express all the delicate degrees of light and shade. Mr. MÜller, as far as we remember, is the first pianist of Great Britain who has performed publicly on the continent; and it gives us the more pleasure to admire in him the talents of one of Old England’s artists, because our own German artists have always found in that country the most flattering reception.

MUNICH.

The Philharmonic Society, founded here by M. SchÖnche, is going on flourishingly. It was established for the education of pupils in every branch of the art, who have invariably had artists of eminence to look up to as models; in the list of these have recently appeared the names of M. and Madame Bohrer, BÄrmann, Dusshek, &c.

M. KÜstner is expected to be appointed manager of the Royal Court Theatre, and Baron Von Poissl director of the court music. M. Mentor, the violoncellist, has been recalled from Hechingen to Munich.

LEIPZIG.

The principal novelties produced at the subscription concerts were, an overture by M. Hartknoch, of original conception, and clever in point of instrumentation, and a symphony by Richard Wagner, scarcely twenty years of age, which was much and deservedly applauded. The solo players, M. Maurer, from Hanover, and his son, on the violin; M. Gros, on the violoncello; Demoiselle Clara Wieck, on the piano-forte; M. Kressner, on the flute; and M. RÜckner on the oboe, delighted the audiences with their performances on their respective instruments. Nor were the efforts of the singers less attractive. Demoiselle H. Grabau’s singing was exquisite, and Demoiselle Livia Gerhard appeared to have improved, not only in execution, but also in the tone of her voice. The male singers were MM. Otto, PÖgner, and Bode.

DRESDEN.

A new opera seria, by Baron BoromÄus Von Miltetz, is expected to be produced here shortly, under the title of Saul King in Israel. It is generally supposed that the Baron will be appointed director-general of the theatre and the chapel.

FRANKFORT.

The repertoire of this theatre has been considerably enriched of late. The principal new productions, besides Der Templer und die JÜdin, which particularly delighted the Jews, have been Die Fremde (La Straniera), of Bellini, Der Vampyr, of Marschner, and Zampa, of Herold. Robert de Diable too has been given; but not by the theatrical direction. Kapellmeister Guhr produced it at his concert, and it was not much admired.

The Cecilian Society, under the able direction of M. Schelble, has recently given the first of four concerts for the season, at which the overture and introduction to Eliza, by Cherubini, and the overture to Idomeneo, were played by a considerably augmented and improved orchestra; and it redounds highly to the credit of the members of the opera, that they should have assisted the efforts of the Society with their vocal contributions.

Madame Filipowicz has performed here three times on the violin with extraordinary success. Her shake in particular is exquisitely brilliant, and her bowing equally powerful and graceful. After displaying her talents in various other German towns, Madame Filipowicz intends to proceed through France to England.

MANHEIM.

The opera of Valeria, composed by M. Aloys Schmidt, long known as a distinguished pianist, was produced for the first time on the 2d December, under the direction of the composer. It went off most brilliantly; every piece from the overture to the very conclusion, being received with bursts of applause. After the fall of the curtain, M. Schmidt was enthusiastically called forward. Its reception, when performed again on the 16th December, was no less gratifying.

WÜRTZBURG.

Joseph Dietz, aged fourteen, a violin player, and pupil of Professor FrÖhlich, has been well received at a grand vocal and instrumental concert here. Among other concertos excellently performed, he played Rode’s last concerto, No. 12, with great execution, neatness, and purity of tone.

WEIMAR.

The opera of Robert der Teufel was given here for the first time on the 6th December. On the first performance, the house was crowded; on the third, nearly empty; the singers, however, did their utmost to support the opera, and the orchestra was very effective.

HAMBURGH.

The same opera, Robert der Teufel, was produced here for the first time on the 20th December, and its reception was enthusiastic. The finale of each act, indeed almost every piece in the opera, called forth the warmest applause. Full justice was done to the composition by all the singers.

Some very interesting concerts have lately been given here, at which M. W. P. de C. Vrugt, from Amsterdam, and M. Lafont, particularly distinguished themselves. The former sang, for the first time, at the concert of M. Leopold Lindenau, a violoncello player of great ability. His style is chaste, and his shake masterly; and he sings chromatic passages in ascent and descent with delicacy and pureness of intonation. His voice, which is of extensive compass, is rich and mellow, particularly in the upper notes. The delightful performances of M. Lafont were received with the applause which they merited.

MERSEBURG.

On the 15th February, M. Amme gave a concert here. Among the selection were the overtures to Die FelsenmÜhle by Reissiger, and to Die Stumme; a concertante by Iwan MÜller for two clarionets, played by MM. Amme and Kunze with sweetness and expression; a concertino by Meyer, for the basset horn, by M. Queiser of Leipzig; a duet for violin and violoncello by MM. Ullrich and Grabau; and a duet by Reichel for two trumpets by M. Queiser and a pupil of his, worthy of such a master.

HEIDELBERG.

M. Schmidt, of Darmstadt, professor of the violin, gave a concert on the 12th December in the saloon of the Museum, and was received with the encouragement to which his talents justly entitled him. The selection of the pieces was as judicious as their performance was meritorious.

DÜSSELDORF.

A musical society, consisting of 500 effective members, flourishing here for some years, has been gradually falling into decline, the management having come into the hands of some amateurs not possessed of sufficient musical knowledge to conduct it. The fragments of this society now consist of a very few lovers of the art; and they have applied to M. Anton Schindler, to undertake the task of restoring it, if possible, to its former eminence.

PESTH.

CANINE CONNOISSEUR.

At a most respectable house at Pesth, where a great deal of music is played, there is a dog, who, unlike his brother dogs, has a great fancy for music. But the most singular part of the story is, that this animal delights only in listening to the performance of Mozart’s, Haydn’s, Weber’s, or Spohr’s music. If such a piece is played, he lays his head upon his two fore paws, listens attentively, and now and then suffers a sigh of emotion to escape him. But when he hears a composition by Rossini, Auber, Herold, &c., he whines and howls most pitifully, as any other dog would on hearing music.—From the Allgemeiner Musikalischer Anzeiger.

GREIFSWALD.

M. Amadeus Abel, scarcely sixteen years old, a pupil of Spohr, lately gave a concert here, and performed a concerto of Spohr’s, and variations of Mayseder’s, with great applause; he also played on the piano-forte, a fantasia of Kalliwoda without accompaniments, with great execution and expression.

SCHWAZ.

On St. Cecilia’s day, the oratorio of Paradise Lost, by Frederick Schneider, was given for the benefit of the poor of this place, in a manner highly creditable to all connected with the performance.

TRIESTE.

The son of the singer Bonoldi, a young composer brought up in the Conservatorio at Milan, wrote the opera with which the Carnival Season was opened in this town. It is his coup d’essai, and called Il Mauro di Calisto Bassi. On the first night the young composer was unfortunate. Nobody knew his part except Bonoldi, the father; and he was so overcome by interest for his son, that he lost his voice and was obliged to omit much. In fact, the theatre was closed two nights; but after that Bonoldi recovered his powers, the opera was reproduced with applause, and the maestro and singers called forward at the close of the performance.

NEW YORK.

The second night of Il Pirata, Bellini’s serious opera, found us at the Richmond-hill theatre. The first representation of all musical pieces we consider as little more than a last rehearsal; for the singers are generally nervous, and the band over cautious. Critics ought to take such a state of things into consideration, and prefer the second night for the exercise of their vocation. In a country as young in music as America, it may be a matter of doubt whether the omission of some of the earlier authors be wise on the part of the manager; and whether, in leaping over the heads of Cimarosa, Mozart, and Rossini, and fixing upon Mercadante and Bellini, he does not resemble a school-master placing Sallust and Terence in the hands of a boy who has not completed CÆsar and Cornelius Nepos; or rather, are we not likely to fall into the error of a sapient critic who discovered, when he saw Kean, that he was an imitator of Booth?—Now there are many juvenile amateurs in this city, who, to our knowledge, have never heard La Gazza Ladra; but who have heard Elise e Claudio; and unless they pay good attention to chronology, they may make a discovery, that Rossini has borrowed numerous passages from Mercadante, because one of those authors decidedly has borrowed from the other. Another observation we shall address to the direttore of the concern: instead of learned and dry operas, which afford delight to professional persons only, let him diligently seek works with lively melodious music, interesting and clear plots, and fine scenery. He has in the public but an infant to nurse, and it will take honey in preference to olives. Allowing that the inhabitants of New York are as fond of music as those of London, which we fully believe, let it be remembered that very few of the higher classes of society in the latter city would be tied down to sit night after night in public boxes, to hear the same opera throughout, overture and all. By no means would they submit to it; they enjoy the luxury of private boxes which are so many boudoirs, in which society is received: nor do we know any more agreeable lounge than the Italian Opera House in London, where individuals, who have a taste for music without understanding it as a science, can drop in at any particular hour for the sake of hearing a particular morceau by Pasta, Sontag, Malibran, or any other star; and can, either previous to its commencement or after its performance, while away the time in conversation with friends, without disturbing those professionals and amateurs who are riveted to every note. This cannot take place in public boxes. There is, likewise, the addition of a ballet in London; and a number of persons, particularly male bipeds, find it the sole attraction. We think that the above is sufficient cause for advising the management of the Italian opera, (in the absence of ballet and converzatione,) to render their performance as pleasing and light as possible to their subscribers; for, be it remembered, that the Italians themselves not only talk and see dancers caper at their opera houses, but actually sup in their boxes; and, when it is considered that they can understand every word that is sung, and feel the sentiment as well as hear the harmony and melody of the music, surely some little compassion ought to be taken on Brother Jonathan, who drinks in sweet sounds, and has to guess at their meaning equally with Brother Bull.

The overture to this opera is beautiful and effective in a high degree. It commences with a spirited, dashing movement for a few bars, something after the style of Auber’s Masaniello; it is then followed by a more subdued movement, in which the basses are pizzicati; and here we remark that the only fault we could find with the overture was the want of bass. We once stated that a double bass and violoncello were not sufficient, and the increase of the band in other respects causes this fault to become more apparent; ergo, the pizzicato movement appeared feeble. The quick movement is a bold allegro, leading away in a minor mood, well worked up throughout. Altogether, the overture is original; and, to our thinking, the finest composition this band has yet performed. The orchestra contains, at present, twenty-six musicians; and we do not hesitate to state, that is now as good a band as was ever heard in America; and, if another double bass and violoncello are added, as we hear is in contemplation, it would be a fair orchestra in any part of Europe. The opening symphony and chorus, Ciel, qual procella orribile, during a storm and shipwreck, at once assured us that we were under the influence of a great and original master; and when we reflected that he was but twenty-four years old when the opera was composed, our admiration increased. Throughout there is a firm and leading bass, which progresses according to the old master’s style, more than we are accustomed to hear in modern compositions. The instrumentation is splendid, and the management of the wind instruments, particularly, reminds us strongly of Weber. Indeed we have the German school continually before us. Mr. Montresor has a part better suited to his voice than any we have yet heard him in. His first aria, Nel furor delle tempeste, was admirably led by a clarionet solo. Monsieur Guilleaud is an artist, and Mr. Montresor sang the aria well. We adhere to our original opinion, that he is the best instructed singer in the company. We must be excused from using the jargon now in fashion among the press. We cannot see why a company of Italians are to be called a troupe; nor why the ladies and gentlemen are to act roles. There is mystification enough to the generality of readers in the technicalities we are obliged to use, and which we address to well read amateurs and professional men alone, without hunting for French words to put in the place of plain English. The part of Imogene was acted beautifully by Pedrotti. Her singing was exceedingly good. Her voice is an organ of great power and good quality, and her forte is expression. Her scena and duetto with Fornasari were very finished. Her mad scena, in the last act, was highly creditable to her. Indeed we have very little fault to find. If we must point out any defect, it would be occasionally a clumsiness of execution, and a failure in the attempt at the chromatic scale; but who can do it? For one fault she has twenty beauties, particularly in her acting; and the use of her arms and hands is most easy and graceful. Fornasari is certainly a very good looking man, with a very fine voice; but there is a tremour about it continually, and his progression from note to note is imperfect. In certain passages we were delighted with him, in others greatly disappointed. In his principal song, and in several leading passages in the duet with Imogene, we really were at a loss to know what he intended to convey to the audience. He made a curious sound in his throat, in which two notes only were perceptible. It could not have been intended for a shake, we are tolerably sure; and we set it down as being meant for an active passage of some sort, in which he wished to show his agilitÀ; but vox faucibus hÆsit. This gentleman’s education as a vocalist has undoubtedly been neglected; but nature has been highly bountiful to him. The costume was well preserved. Fornasari’s second dress was a picture. The female chorus was weak, the male chorus good, but not correct. The finale to the first act is a composition of very superior merit.

The scenery is excellent. The artist’s forte, we think, is architectural design; and we have noticed that Italian scene-painters generally excel in that department. This is an opera which will afford the professor profitable amusement, and the well-informed amateur delight; but we have an unpleasant, lurking suspicion, that it savours more of the olive than the honey; and, therefore, may not be so readily swallowed as some other operas; at least we fear that the ‘most respectable public,’ as the manager terms them, will prove our suspicion just, and we are sure that they ought not to do so. Mr. Lorenzo Daponte has got a very curious flourish in the books of the opera, in which he says: ‘we sigh no more for Malibran!’ and an enormous puff for the Italian artists in general, making some comparisons which had been better let alone. He says that the company procured by him shall merit the gratitude of the public; that we must all learn Italian without delay; and that he has got a gentleman in the person of one Dr. Montresor, who will assist him in teaching us. Very well, if it must be so, anything to oblige him, and viva la musica! We have omitted to mention a well imagined trio between Pedrotti, Montresor, and Fornasari, which we believe to be composed by Mr. Bagioli, the conductor. It does him great credit, and gives us a high opinion of his musical talents. There is scarcely a more effective piece in the opera.

On Thursday, Miss Hughes took her benefit, and a new opera called Nadir and Zuleika was produced; the music partly selected, partly composed by Mr. Horn. Of course, the piece is of an eastern character. The music is light, pretty, and well suited to the sentiment. The plot is rather extravagant; turning upon no less than the opium day-dream of Nadir, a young gentleman who has expressed a wish to become acquainted with the lovely houris, or black-eyed beauties of Mahomet’s heaven; and this being overheard by Zuleika, a young lady who imagines that her charms are sufficient to ensure him a terrestrial paradise, she resents his conduct by dosing him and his servant with opium; and then gets up a scene during his bewilderment, which causes him to believe, that he really has thrown off ‘this mortal coil,’ and is in possession of his wish. A number of droll circumstances and situations arise, which we have not space to dwell on: suffice it to say, that it is a lively operetta of the Abon Hassan species; and, like that piece, has an admirable part for Placie, which he makes the most of; indeed, he is extremely droll, and kept the house in constant laughter. The overture is composed by FÉtis, a person who stands high as a critic in Paris, and editor of a musical journal. Mr. Horn has likewise used the chorus Tacete non temete, by Mercadante, as found in his opera Le Nonne de Gamache. It is also introduced in Elise e Claudio. To this he has added a second subject skilfully, and, we think, has increased its effect. A ballad, founded on a Swiss air, sung by Miss Hughes, is a charming little gem; and was executed by her extremely well, and deservingly encored. She had likewise a bravura, with a corno and clarinette accompaniment. The former instrument was clumsily managed, the latter had not enough to do; but Herwig never fails in his part; and what he had to play was perfect. We do not admire this bravura; the divisions are common-place, and such as we have heard five hundred times with all the clap-traps and gallery-delights commonly used; but Horn has instrumented the song with his usual ability. Jones has two songs, both good; the last a very beautiful air, too chaste perhaps to please the multitude; but it comes in a bad situation, directly after the former noisy song. Another place should be found, or dialogue introduced between the two. The choruses are pleasing, and they sang, particularly the ladies, admirably. Richings sustained the character of Vivienne, a French officer brought into the east—we really forget for what purpose. He acted naturally, and there was nothing in the concerted music beyond his capability. After the opera, the excellent piece of ‘Ways and Means’ was performed; and between the acts the band played out of the book number six, which the house immediately recognized, and hissed most profoundly. Horn’s pretty ballad, the Mermaid’s Cave, followed, sung by Miss Hughes, and accompanied by himself; it was received with its usual Éclat. The opera of John of Paris concluded the evening, which was done much more perfectly than before.—(New York Mirror.)