ROSSINI’s Italienerinn (Italiana in Algeri) has been produced on the JosephstÄdter Theater, but the admirers of his music were less satisfied with this composition than with the former operas of the maestro. This may in some degree have been owing to the sudden indisposition of one of the principal singers, whose part was but indifferently filled by a substitute.

The fourth and last Concert of the Society of the Friends of Music in the Austrian dominions took place on the 24th of March.

Mr. Klein, member of the Hofoperntheater, gave a concert on the 8th of April. The musical world already recognizes him as one of the first virtuosi of the present day on the clarinet, and his performance on this occasion added if possible to his former fame.

Spring festivals have been given in all our public gardens, and our most celebrated composers of dances have contributed thereto their latest labours. Strauss’ and Lanner’s orchestras are certain of attracting the public in crowds. The finest weather adds to the popularity of these entertainments, and the influenza, with which we are still visited, does not prevent the jovial Viennese from seizing upon pleasure wherever it is to be met with.

The celebrated violinist, Lafont, performed before the Imperial Court on the 18th of May. He executed the two compositions of his own which he had previously given at a concert in the Hall of the Musical Society. Of all the violinists that we have heard, he possesses most true taste. He has the secret to touch the heart, and executes forcible and rapid passages with neatness and certainty, without that capricious violation of the rules of art, which ends in the surmounting of difficulties only.

BERLIN.

GRAUN’s Passions—Cantata the Death of Jesus was given on Good Friday in the Singing Academy, for the benefit of the treasury of the institution. The room was overflowing, although the prevailing influenza prevented two of our principal female singers from co-operating on this occasion. Besides the above, we had two concerts which demand notice. The first was given by a young musician, Herr Otto Nicolai, from KÖnigsberg, in Prussia, with a view of introducing himself to the public as a composer, singer, and pianist; in each of these capacities he displayed considerable talent and diligent study. There are several good ideas in a symphony of his composition. The allegro is well arranged, and the ideas properly connected. The instrumentation is effective, and on the whole there is a praiseworthy endeavour to follow Beethoven’s style, especially in the scherzo. The symphony deserved and gained an encouraging reception. As a vocal composer, Herr Nicolai proved, in a bass scena—Tell auf der Strasse nach KÜssnacht, that he was well versed in this department.

The second concert, given under the direction of the music director, Mr. MÖser, was one of the most attractive of the whole season. A new concertino (the composer of which was not mentioned) was executed by Mr. MÖser with much youthful fire, and with a vigour and expression that evinced a true and deep feeling for the art. The concert terminated with a poem by Mosengeil, delivered in a most expressive manner by Mad. Crelinger and M. Devrient, and interspersed by some of Beethoven’s genial music to Goethe’s tragedy of Egmont, thus forming a lyric scena, which recalled to the recollection of the public the above neglected drama, while, on the other hand, the poem led to the revival of the sublime and unrivalled work of Beethoven’s. This melo-dramatic performance, exhibited for the first time in this form, created a deep and universal sensation.

In consequence of the epidemic, which also affected many of the individuals of the Royal Opera, the representations were frequently weakened, or suspended; nevertheless Miss GrÜnbaum, as Pamina, and Amazili in the opera of Jessonda, sang very fairly; and an equal share of praise is due to Mr. Hoffman in the characters of Nadori and Otello.

In the KÖnigstadt Theater, Mad. Schodel, from Vienna, appeared with considerable success in several operas, more particularly as Julie in Bellini’s Capuletti e Montecchi, as Isoletta in the Unbekannte (Straniera), and as Henriette in Auber’s Braut (La FiancÉe). Mad. Schodel’s voice is a somewhat thin soprano, and rather piercing in the higher notes, but with a little moderation and increased cultivation its force may render her a valuable acquisition to the stage. A pleasing exterior, and the energy of youth, are favourable points in this lady’s dramatic performances.

M. Kalkbrenner is arrived here. He left Paris towards the end of March, and has successively visited Francfort, Carlsruhe, Stuttgard, Leipsig, and Dresden, and everywhere has given concerts which have been as successful as enthusiastically applauded. In Germany, especially, his grand and pure style, his energy and brilliancy, have been universally admired. He proposes to give in this, his native city, a series of concerts, which, doubtless, will charm all our true connoisseurs.

DRESDEN.

BARON MILTIZ’s opera seria, Saul, the admirable text of which was furnished by his Royal Highness Prince John, displays in its full force the talent of the composer in the serious department of the operatic drama; the overture and the choruses are excellent. WÄchter performed the part of Saul, Mad. SchrÖder Devrient Michal, and Babnigg David. The opera was represented thrice in one week with the greatest applause.

Madlle. Maschinka Schneider, daughter of the Prussian Capellmeister Schneider, is engaged at our opera, and sang, for the first time, in April, at a concert in the palace, and appeared afterwards in the Barber of Seville. The nuptials of the Prince co-Regent with the Princess Maria of Bavaria were celebrated by a drama written for the occasion, by Theodor Hell, and composed by the Capellmeister Reissiger; the title is, Der Erde reinstes GlÜck (Earth’s Purest Happiness), and the plot, which is founded on a contest between Titania and Oberon, as to the purest happiness to be enjoyed by mortals, skilfully connects some of the most brilliant events of former ages with remarkable occurrences of the present times. There is an attractive troubadour-like sweetness in the music, which was deservedly applauded, especially the sprightly and cheerful choruses.

MUNICH.

HANDEL’s classical work, Alexander’s Feast, was performed here on the 31st of March, by an orchestra (vocal and instrumental) of two hundred individuals; its masterly execution drew bursts of applause from the numerous audience which filled the great saloon of the Odeon.

Mr. Schinn of Pesth made his debÛt in the part of the PodestÀ in the Diebische Elster (La Gazza Ladra). He is reported to possess a fine voice, and a cultivated musical taste. The first opera to be brought out under the new direction of our establishment is stated to be William Tell.

The Royal Hofmusikus BÖhm has, by his great mechanical talents, given such perfection to the flute, that all the tones of the instrument are rendered equally full, pure, and vibrating. Its pianos are uncommonly sweet and delicate, and the fortes exceed by far the power of an ordinary flute. In addition to these advantages, this new instrument presents an equal facility in all the keys, the most difficult not excepted. Although Mr. BÖhm has only practised this new instrument for about six months, his execution upon it is almost as great as on the flute hitherto in use. He is on the point of setting out on a professional journey to England.

PRAGUE.

THE only real novelty upon our boards was Udalrich and Bozena, a romantic opera in three acts, by F. V. Ernst, the music by Capellmeister Skraup. The various prior compositions of this author scarcely justified an expectation of so good a work as the present opera, the score of which furnishes evidence of meritorious exertions and progress in the art. Like all new operas, however, it presents reminiscences, but it is distinguished by a richness of melody not to be found in Mr. Ernst’s prior labours. Among the best pieces in the opera are the aria of Bozena (Demlle. Lutzer), that of Udalrich (Mr. Driska), and that of Borowin (Mr. Podhorsky), as also the romance of the above lady, and her duet with the duke, the spirited allegro of which was every time encored. As further favourable specimens, we might quote the trio between Borowin, Udalrich, and Ladka (Demlle. Pittner), a quartet, and all the three finales. The overture is a weak composition.

The reception was enthusiastic, and the execution, while it gave proof of careful rehearsal, did great honour to our vocal company.

FRANKFORT.

THE opera of Robert the Devil has been brought out here at an expense of 8000 florins, and met with enthusiastic applause. Its performance will be additionally impressed on our memory, for, during its representation on the 3rd of April, our city was suddenly thrown into confusion by riots and bloodshed, caused by a small band of political fanatics.

Valeria, an opera by M. Aloys Schmidt, has been brought out here. While this work certainly exhibits some original and agreeable traits, it abounds in reminiscences of Beethoven, Cherubini, and Mozart. However, it has succeeded.

LEIPZIG.

KALKBRENNER gave a concert here on the 3rd of May. He is proceeding to Petersburg, and intends being at Vienna in August.

A theoretical work has recently issued here, from the press of Messrs. Breitkopf and HÄrtel, entitled Aesthetisch-historische Einleitung in die Wissenschaft der Tonkunst (Aesthetical and Historical Introduction to the Science of Music), by Dr. William Christian MÜller, in two volumes. The first volume bears the separate title, Essay on an Aesthetical Theory of Music, and treats in twenty chapters this extensive branch of the art, in a very clear and satisfactory manner. The second volume contains the chronology of music, the history of its cultivation, divided into ten epochas, from the dark ages of mythology to the present time. The industry and care of the author are praiseworthy, and are sufficiently displayed in numerous references and quotations.

WEIMAR.

IN the Easter week a new opera was produced here, under the title of The Traitor in the Alps. The text by Seidel and the music by Genast are, according to the opinion of competent judges, of superior merit.

KÖNIGSBERG.

ON the 3rd and 10th of October, the music director, Mr. Saemen, produced Handel’s Alexander’s Feast. On the 18th October, and 14th November, the music director, Mr. Riel, gave, for charitable purposes, Handel’s Messiah, in the Lobnicht Church. On the 25th, 27th, and 31st of October, three Tyrolese minstrels gave concerts of national airs. They are jovial people, expert enough in musical tricks, such as yodling, falsetto, &c., but are anything but artists.

On the 31st October, Mr. Louis Mauer, from Hanover, gave a concert; among the pieces of which we have to notice a concertino for the violin, fantasias on melodies of the Dumb Girl of Portici, executed by Mr. L. Mauer, and variations of Mayseder, by Wsewolod Mauer. The father and son played also a rondo À la polacca for two violins; variations for two violins and violoncello, upon the Cloak Song, from Leonora, the whole composed by L. Mauer.

The theatre has furnished little of marked interest; Mr. Rosicke of the Berlin KÖnigstadt Theater appeared in various characters, with success, more particularly as Wallheim in Leonora. Mr. Heckscher, a new engagement from the Brunswick Court Theatre, made his appearance as Don Juan, Count Wetter von Strahl, Caspar in the Freyschutz, Lord Cockburn in Fra Diavolo, &c. The experienced actor is easily recognised in this gentleman, who possesses a powerful bass voice, but of which he does not always avail himself to the best advantage. On the 16th of October was performed, for the benefit of Miss Hulda Schaffner, Je toller, je besser (Une Folie), by MÉhul.

The principal novelty on our boards was the production, on the 6th December, of the opera of Imogen (founded on Shakspeare’s Cymbeline), a composition of our worthy music director, Mr. Sobolewski, who, according to report, has also furnished the poem. Mr. S. has raised himself from the ranks in music to his present situation of commander-in-chief, and, by this opera, has furnished a new proof of musical talent of a superior order.

STRASBURG.

OUR German Opera, under the direction of Mr. WeinmÜller, commenced the season with the Freyschutz. The performance met with considerable success, although the company is not as yet complete.

BRUSSELS.

THE King of the Belgians has been pleased to accept the dedication of the score of the opera William of Nassau, and, in proof of his satisfaction, has transmitted to the music director, Mezeray, a very flattering letter, accompanied with a diamond ring.

Monsieur FÉtis is arrived, with the view of making the necessary arrangements for his future residence in this city; he has been nominated MaÎtre de Chapelle of his Majesty, as well as Music Director and Professor at the Conservatoire.

ST. PETERSBURG.

BARMAN, the clarionet player, who has spent last winter in the higher northern latitudes, is at present here; wherever he appeared he was received with the greatest applause.

MILAN.

Il Contrabbandiere, a melo-drame in two acts, the music by Cesare Pugni, was produced here on the 12th of June. There are in this opera some motivi new and elegant, but the instrumental part is much too noisy. The composer has too freely used his trombones and drums.

NAPLES.

Sig. Barbaja still retains the office of Impresario of the Grand Theatre Royal, the San Carlo. The company which he has formed for the ensuing season comprises, among many others, Mesdames Malibran, Ronzi di Begnis, and Lablache.

BOLOGNA.

Madlle. Blasis has been very favourably received by the public in this city. Matilde di Shabran would doubtless have proved more successful had all the performers contributed equally to an opera which requires a perfect company. The tenor, Duprez, has succeeded very well here; in him are united the talents of a good actor and singer.

PARIS.

MAD. DAMOREAU (Cinti), after an absence of three months, has re-appeared at the opera. Many works, which have suffered for want of her assistance, now feel the happy effect of her return.

TOULOUSE.

The concert of the celebrated M. Field has been a remarkable event for this city. All the best society of the town assembled at the Saloon of the AthenÆum on this occasion, and, accustomed to hear only those pianists who delight in noise and absurd tricks, were as much surprised as charmed by the ease with which M. Field executed the most difficult and the most delicate passages.

M. Field is a disciple of the true piano forte school; Clementi was his master; and this is the school which must generally influence public taste. The love of novelty will now and then recommend sleight-of-hand tricks, but what is really good will always ultimately prevail, and never can be wholly neglected.