FROM THE 
 
 BENNO LOEWY LIBRARY 
 
 COLLECTED BY 
 
 BENNO LOEWY 
 
 1854-1919 
 
 BEQUEATHED TO CORNELL UNIVERSITY 
 
ML 1711?8T5A7r"">' "'"'" 
 
 * 'iSSS.^l,,?,!,,.^!!? op*™ In Philadelphia. 
 
 3 1924 022 331 239 
 
The original of tiiis book is in 
 tine Cornell University Library. 
 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022331239 
 
A RECORD OF THE OPERA 
 
 PHILADELPHIA. 
 
 W. G. ARMSTRONG. 
 
 PHILADELPHIA 
 PORTER & COATES. 
 
 1884. 
 
COPYRIGHTED BY 
 
 TOWNSEND WARD. 
 
PREFACE. 
 
 The title explains the object of this book. It is simply a 
 record of the lyrical representations that have taken place in 
 Philadelphia, with the names of the artists and the date and 
 place of performance. As the experience of comparatively few 
 of the present frequenters of the opera extends beyond the 
 past thirty years, it was suggested that I should add some re- 
 marks descriptive of the voices and method of the principal 
 artists. This I have done as concisely as possible. 
 
 There are many incidents, historical and personal, connected 
 with the opera in Europe, relating to eminent composers, vo- 
 calists and authors, of whom faithful descriptions have been 
 preserved. England has been fortunate in possessing several 
 clever writers on the subject, who were not only thoroughly 
 conversant with music, but wert personally acquainted with 
 the most distinguished musicians of the present century. I 
 have freely made use of their descriptions, by way of illustra- 
 tion, in the following pages. 
 
 In the operatic representations, the names of the principal 
 performers are given, but mere repetitions of the same cast are 
 generally omitted. Subsequent to the year 1857, unless other- 
 wise stated, the performances were given in the Academy of 
 Music. 
 
 June, 1S83. 
 
A RECOED OF THE OPERA 
 IIS" PHILADELPHIA. 
 
 BENJAMIN FRANKLIN was probably the 
 earliest amateur musician whom Philadelphia 
 may claim. He is accredited with the invention 
 of the harmonica or musical glasses; he certainly 
 made them practically available. They were the 
 fashion when "the ladies of distinction from town 
 [in "The Vicar of Wakefield,"] talked of nothing 
 hut high life, pictures, Shakespeare, and the musical 
 glasses." An engraving and fall description of the 
 instrument will be found in Sparks's edition of 
 Franklin's works. Vol. 6, page 245. Miss Davies, at 
 that time well known over Europe, was the first 
 distinguished performer on the instrument. Hasse 
 composed for her. Mozart composed fo'r another 
 lady performer. Even Beethoven condescended to 
 oblige a friend by composing a little piece for the 
 harmonica. It is safe to say, however, that none of 
 
( « ) 
 
 these musicians would adopt Franklin's ingenious 
 theory of harmony. In a letter to Lord Kames, 
 dated London, June 2d, 1765, on Scotch music, 
 Franklin says of the airs: "Their melody is har- 
 mony ; every succeeding note is a third, a fifth, or 
 an octave; that is, a concord with the preceding 
 note. The memory of a past sound forms a concord 
 with the present." 
 
 Franklin also played the guitar. Leigh Hunt in 
 his autobiography says: "My mother had no ac- 
 complishments, but the two best of all, — a love of 
 nature and of books. Dr. Franklin offered to teach 
 her the guitar ; but she was too bashful to become 
 his pupil." Franklin's music-stand is in the posses- 
 sion of the Historical Society of Pennsylvania. 
 
 Philadelphia has always maintained a good rep- 
 utation for musical taste. Even in the last century 
 it was usual for families to have meetings at their 
 homes for their improvement in music. Governor 
 Penn, who played the violin, had musical soirees 
 every Sunday evening at his house, South Third 
 Street, during a portion of the year.^ Dr. Adam 
 
 ^ I am indebted to Mr. Townsend Ward for this note re- 
 garding Governor Penn's house. 
 
 " Governor John Penn's house was on the west side of Third 
 
( 7 ) 
 
 Kuhn, himself an amateur, attended them. Francis 
 Hopkinson, signer of the Declaration of Inde- 
 pendence, was also an amateur musician and fre- 
 quently played the organ at St. Peter's Church, of 
 which he was a vestryman. The descendants of 
 
 Street, south of Willing's Alley, and stood there until about 
 3830. It occupied the present lot No. 242, old No. 112, and 
 probably about one-half of the adjoining lot on the north ; 
 for it was a large house, although not a double one. Its door- 
 way and hall were unusually wide, and it is remembered that 
 figures of Indians were painted on the walls of the hall. This 
 was on the ground floor. The parlors were in the first story 
 or on the second floor, as we call it! I have been told that the 
 windows had large panes of glass, — the first departure in 
 Philadelphia from the regulation pane of eight by ten inches. 
 The grounds extended westwardly to Fourth Street, and north- 
 wardly nearly one hundred feet to the carriage-way of Willing's 
 house on its south side. This latter house occupied the site of 
 the present offices of the Lehigh Valley Railroad Co. Penn's 
 house is said to have been built by Willing for his daughter, 
 Mrs.' Byrd ; but this seems to be erroneous, for he died in 1754, 
 while .she was married in 1761 . Charles Willing, however, ac- 
 quired the lot of ground soon to be spoken of as patented in 
 1760 to his son Thomas, and in 1749 he, Charles, erected on a 
 part of it his ample mansion-house at the southwest corner of 
 Third Street and Willing's Alley. And it is altogether probable 
 that he designed his daughter, when married, should have 
 the lot on which the Byrds' house was afterwards erected. 
 
 "As this was one of the noted houses in colonial times, it may 
 be as well to give a few more lines about it. In 1760 a patent 
 was granted to Thomas Willing, son of Charles, for a lot of about 
 one hundred and sixty feet on Third Street, which included the 
 property spoken of. February 23d, 1761, Thomas Willing con- 
 veyed to William Byrd and Mary, his^ wife, who was a sister of 
 
( 8 ) 
 
 the last two gentlemen are still conspicuous for their 
 musical attainments. Later than the time of the 
 above, Mr. Thomas Sully, the celebrated artist, took 
 part in musical soirees with his fliite. 
 
 Mrs. Thomas Willing was an admirable per- 
 
 Willing, thirty feet front on Third Street and extending to 
 Fourth, bounded on the south by Charles Steadman's lot, and 
 with a restriction in building to fall back ten feet from the 
 west line of the street. January 23d, 1762, Willing conveyed 
 to the Byrds thirty feet more on Third, bounded on the south 
 by the house and lot of the said Byrds. November 27th, 1764, 
 the Byrds, reciting that they had erected a house on the two 
 lots or on one of them, and other buildings, conveyed said 
 house and the two lots to Adam Hoops. February 4th, 1765, 
 Hoops granted to Chief Justice AVilliam Allen the southernmost 
 thirty feet, and the messuage, kitchen, stables and other build- 
 ings thereon. December 23d, 1766, Allen conveyed the satpe 
 to Governor John Penn and wife, who was an Allen. Penn 
 subsequently acquired other properties to the north of his 
 house. May 3d, 1771, Penn and wife conveyed to Chief Justice 
 Benjamin Chew the whole property, one hundred and eighteen 
 feet on Third Street and extending to Fourth, the same being 
 bounded on the south by the messuage and lot of Charles 
 Steadman, but then of Samuel Powell, which house is now 
 standing, and on the north by the grounds of Thomas Willing. 
 "Chief Justice Chew occupied the house until his death in 
 1810, and his widow remained in it until about 1819. About 
 the year 1810, Benjamin, a son of the Chief Justice, erected on 
 the western part of the lot the large double house which stood 
 in Fourth Street, directly opposite Locust, then Prune Street, 
 now the site of some of the offices of the Pennsylvania Kail- 
 road Company. Here he and his family lived until 1831, when 
 it became the property and residence of the Mexican family of 
 De la Cuesta, and afterwards of Commodore David Conner." 
 
( 9 ) 
 
 former on the harp. The Hon. Charles Augustus 
 Murray thought her the best performer on that in- 
 strument that he had ever heard. In his "Travels 
 in North America" he says: "At Philadelphia my 
 ear was entranced by the very sweetest and most 
 powerful harpist whose fingers ever swept the 
 chords." She had frequent musical reunions of 
 ladies and gentlemen amateurs at her housie. on 
 which occasions Mr. DaConinck, from the Con- 
 servatoire at Paris, played the accompaniments. 
 Mrs. Willing was the daughter of Mrs. Carter, of 
 Virginia, and was a niece of General Robert E. Lee. 
 
 The musical soir^s of the late Mr. and Mrs. 
 Franklin Peale, both accomplished musicians, were 
 notable for their excellence and for the talent, both 
 amateur and professional, that was sure to meet 
 there during a portion of each year at their fort- 
 nightly reunions. 
 
 English opera was the only approach to dramatic 
 music heard here during the fijst quarter of the 
 present century. Several of these musical plays 
 were performed in the latter part of the last century. 
 The earliest name of distinction was that of Mrs. 
 Oldmixon, wife of Sir John Oldmixon, Bart. She 
 played Clorinda in the opera of "Robin Hood" at 
 the Chestnut Street Theatre in 1794, and was an- 
 
( 10 ) 
 
 nounced as "Mr.'^. Oldmixon, late Miss George, from 
 the Royal Drury Lane Theatre, London, being her 
 first appearance in America." She afterwards 
 played in New York. After 1814 she resided in 
 Philadelphia and Germantown. She sang in the 
 usual ballad operas popular in those days. 
 
 " The Archers ; or, Mountaineers of Switzerland," 
 is said to be the first American opera. It is based 
 on the story of William Tell ; libretto by William 
 Dunlap, author of "The .History of the American 
 Theatre," also of "The History of the Arts of 
 Design in the United States." The music was 
 composed by Benjamin Carr, brother of Sir John 
 Garr. It was first performed in New York, April 
 18th, 1796. It was probably performed in Phila- 
 delphia, where Mr. Carr resided and was highly 
 respected. Some of his sacred music is still sung- 
 in the churches. He came to this country in 
 1794. 
 
 In 1817-8, Incledon and Phillips, both cele- 
 brated in England, played in a series of the popular 
 operas,— "The Devil's Bridge," "Maid of the Mill," 
 "The Duenna," etc. In 1823 Mr. Pearman sang in 
 the above plays, including "Glari; or. The Maid of 
 Milan," which was just written, and in which was 
 heard for the first time the song of "Home, Sweet 
 
( n ). 
 
 Home.'" In the published music it is called "a 
 Sicilian air;" but it is generally conceded to have 
 been composed by Henry Bishop, who wrote the 
 music of the operetta. Sixty years have now 
 passed, and no one has ever found that "Sicilian 
 air," except in Bishop's "Clari." 
 
 The first attempt to produce what is now recog- 
 nized as opera was on March 18th, 1825, when the 
 stock company of the Chestnut Street Theatre per- 
 formed "Der Freischiitz." It is stated that "the 
 orchestra was very much excited over the event." 
 An English version was produced for the first time 
 in London in 1824, "with many ballads inserted." 
 The stock company appear to have rested on their 
 laurels, as no further attempt was made to produce 
 lyrical drama in English for several years. In 
 January, 1827, Mrs. Knight, from Drury Lane 
 Theatre, London, sang with Mr. Heyl in a series 
 of musical plays. 
 
 The following is a list of some of the most popu- 
 lar of the English ballad operas: 
 
 " Beggars' Opera." Gay. Music by Pepusch. 
 " Love in a Village." Bickerstaff. Dr. Arne. 
 
 1 Among the treasures of the Historical Society is an auto- 
 graph copy of John Howard Payne's "Home, Sweet Home." 
 
( 12 ) 
 
 
 
 " Devil's Bridge." 
 
 
 Braham. 
 
 " Cabinet." 
 
 
 Braham. 
 
 " Duenna." R B. 
 
 Sheridan. 
 
 lAnley. 
 
 "Spanish Maid." 
 
 
 Linley. 
 
 " Carnival op Venice." 
 
 
 Linley. 
 
 "Selima and Azor." 
 
 
 Linley. 
 
 "The Camp." Sheridan} 
 
 
 "Guy Mannering." 
 
 
 Bishop. 
 
 "The Slave." 
 
 
 Bishop. 
 
 "Clari, Maid of Milan." 
 
 
 
 John Howar 
 
 ■d Payne. 
 
 Bishop. 
 
 "Miller and His Men." 
 
 
 Bishop. 
 
 "Rob Roy." 
 
 
 Davy. 
 
 "Lord of the Manor." 
 
 
 
 General Burgoyne. 
 
 Jackson o 
 
 f Exeter. 
 
 " Waterman." 
 
 
 Dihdin. 
 
 " (Quaker." 
 
 
 Dibdin. 
 
 " Castle of Andalusia." 
 
 Dr 
 
 . Arnold. 
 
 " Mountaineers." 
 
 Dr 
 
 . Arnold. 
 
 " Inkle and Yarico." 
 
 Dr 
 
 . Arnold. 
 
 "Surrender of Calais." 
 
 Dr 
 
 . Arnold. 
 
 "Poor Soldier." 
 
 
 Shield. 
 
 1 He married Eliza, the beautiful and accomplished daughter 
 of Thomas Linley. Moore in his life of Sheridan says of her : 
 "There has seldom existed a finer combination of all those 
 qualities that attract both eye and heart, than this accom- 
 plished and lovely person exhibited." 
 
( 13 ) 
 
 " Woodman." Shield. 
 
 "Haunted Tower." Storace. 
 
 " No Song, No Supper." Storace. 
 
 " Siege of Belgrade." Storace. 
 
 "The Pirates." Storace. 
 
 "Paul and Virginia." Mazzinghi. 
 
 " Olympic Revels." Barnett. 
 
 " Midas." Barnett. 
 
 Italian Opera. 
 
 In 1825, the celebrated Manuel Garcia brought 
 to New York a company of excellent artists in 
 order to found an opera there. This was the first 
 Italian troupe that visited this country. The com- 
 pany included the young Crivelli as tenor, his own 
 son Manuel, Angrisani as bass, De Rosich, Mme. 
 Barbiere, Mme. Garcia, and his daughters Marie 
 and Pauline, afterwards Mme. Viardot. He pro- 
 duced eleven operas in one year. His daughter 
 Marie Felicita appeared in " II Barbiere," " Otello," 
 "Romeo," "Don Giovanni," "Tancredi," "Cener- 
 entola," and in two operas written for her by 
 her father, "L'Amante Astuto," and "La Figlia 
 dell'Aria." 
 
 Garcia was of a harsh and tyrannical dispo- 
 sition, and, "in spite of her repugnance to the 
 
( 14 ) 
 
 union," gave Marie in marriage to M. Malibran, 
 a French merchant over fifty years of age, and 
 supposed to be wealthy. M. Malibran soon after- 
 wards failed in business and was imprisoned for 
 debt. Marie surrendered to his creditors all claims 
 which she had on his property; which generous 
 act added to the enthusiasm of her New York 
 admirers. In September, 1827, she returned to 
 France. Garcia had already left New York and 
 taken part of his company to Mexico. Of these 
 artists, one, the greatest of them all, was heard 
 in Philadelphia in concert. Marie Malibran sang 
 in the Musical Fund Hall. Mr. DaConinck, of 
 the Conservatoire in Paris, accompanied her on 
 the piano. I have frequently heard him speak 
 with delight of her singing after the concert was 
 over and the audience gone. Finding the acous- 
 tic qualities of the house so excellent, she walked 
 up and down the hall, extemporizing, while he 
 played an accompaniment. She sang also, at a 
 concert in the Chestnut Street Theatre, the favor- 
 ite scena from " Tancredi," in costume ; also " Una 
 voce poco fa," in > character, " Home, Sweet Home," 
 and other pieces. She was seventeen years old 
 when she came to New York, and died at the 
 
( ir> ) , 
 
 age of twenty-eight; and although so young, no 
 dramatic singer ever attained a greater fame. 
 
 Many Philadelphians went to New York to 
 hear Garcia's company, and the best judges of 
 singing expressed their unqualified admiration 
 of the performances. Garcia was a vulgar-look- 
 ing man off the stage, but in "Don Giovanni" 
 "he looked the perfect Don." I have often heard 
 the late Mr. Hartman Kuhn and Dr. LaRoche 
 express the pleasure they received; and better 
 judges of music than these gentlemen I have 
 never known. 
 
 Garcia returned to Europe in 1829 and died 
 in 1832. He was the best teacher of singing in 
 Europe. Among his most celebrated pupils were 
 his daughters, Mme. Malibran and Mme. Viar- 
 dot, Mmes. Rimbault, Ruiz-Garcia, Countess Mer- 
 lin, Adolphe Nourrit, GSraldy, and his son 
 Manuel. 
 
 Manuel Garcia, Jr., once more in Paris (1829), 
 quitted the stage and devoted himself to teach- 
 ing; He undertook an inquiry into the confor- 
 mation of the vocal organs, the limits of the 
 registers, and the mechanism of singing. He 
 was the first to apply the laryngoscope to this 
 purpose. His "Memoire sur la Voix Humaine" 
 
( 16 ) 
 
 was presented to the French Institute in 184() 
 and obtained the congratulations of the Academy. 
 Catharine Hayes and Jenny Lind were among his 
 pupils. 
 
 In Philadelphia, the taste for operatic music 
 has been of gradual growth. Previous to 1827, 
 we had nothing higher in the form of opera 
 than the ballad dramas before mentioned. Oc- 
 casionally, with the aid of such vocalists as 
 Mme. Feron, Mrs. Austin, Mr. Sinclair, or Mr. 
 Jones, they would produce skeletons of works of 
 more pretension, but always interlarded with bal- 
 lads or selections from other operas. 
 
 French Opera. 
 
 To the French company from New Orleans 
 we are indebted for the introduction of the first 
 opera with any completeness in its details. The 
 performers were generally good actors, especially 
 in the comic parts, and, although none were 
 more than second or third-rate singers, they 
 were usually fairly good musicians and had some 
 appreciation of musical effects. 
 
 This company appeared at the Chestnut Street 
 Theatre, September 28th, 1827, and performed the- 
 following operas: 
 
( 17 ) 
 
 1827, "Le Petit Chaperon Rouge." f-critLXP- 
 "JocoNDE." By Isouard. 
 "Robin DEs Bois." «u_>-^m <? '-^ 3 "^"7 
 "Der Freischutz." _^-y 
 
 " AzEMA." ~ Oc^ 5^' -"^ e-^^ ' 
 
 "La Dame Blanche." 
 
 " Le MAyoN." 
 
 " Werther." 
 
 " Therese." 
 
 " Rendezvous Bourgeois." i '^-> i 
 
 " Le Solitaire." ^^oJL^l^^ ^^ ' "^ ^ 
 The operas were usually preceded or followed 
 by a vaudeville. The performers were Mmes. Alex- 
 andra, Milon, Chollet and Bolze; and MM. Rich- 
 ard, Alexandra, Rochfort, Le Blanc, Tabary and 
 Theodore. 
 
 1828. The French opera company again appeared, 
 September 17th, and performed: 
 
 " JOCONDE." , , 
 
 "La Fete du Village Voisin." - /3 ^ "U '^'^^-t^ 
 " Adolphe et Clara." (; ^ CaA^am^ ^^ 2 
 "La Dame Blanche." 
 
 "Le Petit Chaperon Rouge." 
 
 "Les 
 
 "Les Visitandines." 
 
 Petit Chaperon Rouge.' rf^iCVj 
 
 VOITURES VeRSEES." Sx*^ ' 
 
( 18 ) 
 
 " Lk Nouveau Seigneur de Village." ^ a' :> 
 
 "Cendrillon."- TVucrta- C^ ^-^,^^j i' i' - 
 " Les Folles Amoureuses." 
 "Aline."- (Jet Q 'rS / / •> 
 " Le Solitaire." 
 
 " Der Freischutz." A" ->- /CV^ / 
 
 " Jose in Egypj'." >vc ^^'^^ ^ ^^ ^ 
 
 " La Vestale." - ^..^vCliJvU ^^^'i^J^^fe '.a/^') 
 " Jean DE Paris." - /5^;y\t.^A*^»— C\i<^^lJl I C'^ 
 
 "Trexte Ans de la Vie d'un Joueur." 
 
 "FlORELLA." -(JLmSj^"^ yUr^ ^^ /b ^ -^ ■ 
 
 " Hamlet as a Tragedy." 
 
 ^ ^ . ■^i 
 
 j-fi p 
 
 1829. In September, the same company at the Chest- 
 nut Street Theatre performed several of the above 
 operas, with the addition of the following list: -f /) 
 "La Fiancee." -CD^Cj-v ^~- ' ' ^'^"^ (^T 
 "GuLisTAN." <^<^'^<*i; '-^ S>y 1 , 2-? I r 
 
 "La Caravan du Cairo." --■/; , y^^^>.,K^ ^;- ^^^i 
 
 » "La Dame du Lac."-^,^ q^ ^^^'^ ^Y' 'f/^^^ 
 
 "Le Calife du Bagdad." j^^^^^ Cct)"!^ ^a 
 Artists: Mmes. Milon, Bolze and Alexandr6; ^' 
 MM. Privat, Notaire, Alexandr6, Deschamps and 
 Theodore. 
 
 iMSMji - - ^r- ' '"' '' 
 
 2a ^< '^. 
 
 <i 1-^/! 
 
( 19 ) 
 
 1830. The French troupe were again at the Chest- 
 nut Street Theatre in September, and during the 
 season performed: 
 
 2i "CoMTE Ory." By Rossmi. Z* 
 
 "La Muette de Portici." Auher. 
 
 "La Dame Blanche." ' Boieldieu. 
 
 " Fra Diavolo." Auber. %»f 
 
 "GuiLLAUME Tell.'' Rossini. 
 
 " Le Barrier de Seville." Rossim. 
 
 " La Clochette." Herold. 
 
 " La Gazza Ladra." Rossini. S^ 
 
 Artists: Mmes. Berdoulet-Paradol, Milon, Choi- 
 let, St. Clair and Georges; MM. Deschamps, St. 
 Aubin, Privat, Victoria, etc. 
 
 The French troupe from New Orleans opened 
 September 8th. 
 
 In^ addition to their performances last year, they 
 gave the following: 
 
 1831. " Le Petit Matelot." -G-^^'^'^^''- ''''jo* 
 " La Pie Voleuse." — '^-^ V ^ Ij i 
 " La Jeune Prude." (W (xS) c c/ "7 i >' / ^ 
 In September of this year, at the Walnut Street 
 
 Theatre, there was a short season of opera in Eng- 
 lish, "The Marriage of Figaro," with Wemyss as 
 
( 20 ) 
 
 the Count, and some ballad operas by the stock 
 company. c, | /g-,l<y-^) 
 
 ^^ ^ "Tancredi" was produced for the first time in 
 this city, with Mme. Feron, Brichta, and Sig. 
 Angrisani, who came to this country with Garcia. 
 Only a portion of the opera, compressed into one 
 , act, was given. \-_, 
 
 1832. Jan. 6. "Beggars' Opera." 
 
 Miss Hughes and Mr. Sinclair. 
 
 Jan. 16. " Cinderella." 
 
 Mrs. Austin and Mr. Sinclair. 
 
 Sept. 10. " Masaniello." 
 
 Mme. Feron, Mrs. Rowbotham as Fenella, 
 
 and Mr. Sinclair. 
 
 Mme. Feron and Mrs. Austin were very popular 
 
 at this period, and performed in the ballad plays, 
 
 •^ and in the above-mentioned operas by Rossini, 
 
 Mozart and Auber; but they were never sung as 
 
 originally written. " Cinderella," for instance, was 
 
 a mere pasticcio, being made up from " Cenerentola," 
 
 " Armida," " Maometto," and " William Tell." " No 
 
 better adaptation has yet been made, 1880." Mr. 
 
 Sinclair was a very popular tenor; Rossini wrote 
 
( 21 ) 
 
 the part of Idreno in " Semiramide " for him; his 
 daughter married Edwin Forrest, the tragedian. 
 
 Italian Opera in Philadelphia. 
 The first Italian company heard in this city was 
 the Montresor Troupe. They advertised that they 
 would open at the " Italian Opera-House, late 
 Chestnut Street Theatre." The first performance 
 was on : 
 
 1833. Jan. 23. "Eliza e Claudio." 
 
 By Mercadante. 
 
 Sig^. Giuseppe Corsetti, Gio. Bat. Montresor, 
 
 Francesco Sapignoli, Signore , Enrichetta 
 
 Salvioni, Adelaide Pedrotti, J^orenza Ma- 
 
 rozzi. 
 
 Boxes and pit, $1. 
 
 Jan. 29. "Il Pirata." 
 
 Si^. Pedrotti, Fornasari, Montresor, Sapi- 
 gnoli. 
 
 Repeated three times. 
 
 Feb. 4. "Italiana in Algeri." 
 
 Fornasari, Signore Verducci, Sapignoli, Pe- 
 
( 22 ) 
 
 Feb. 11. "Il Pikata." 
 
 Same cast. 
 Fornasari will sing "Largo al fattotum" 
 in full character. 
 
 Feb. 12. " Ceneeentola." 
 
 Montresor, Pedrotti, Fornasari, Orlandini. 
 
 Feb. 22. "Il Pikata." 
 
 Sixth time. 
 
 Feb. 27. "Otello." 
 
 Montresor, Pedrotti, Fornasari, Corsetti. 
 
 Rossini wrote this opera for Naples, 1816. It 
 was sung by Mile. Colbran, afterwards his wife, 
 and the two celebrated tenors, Davide and Nozzari. 
 The recitative in " Otello " is for the first time ac- 
 companied by the full orchestra. This opera re- 
 quires an exceptionally strong cast. On the Italian 
 stage it has been hqard with Rubini and Mario 
 {Otello and Roderigo,) as the two tenors, and Tam- 
 burini and Lablache {lago and Brabantio,) as the 
 two basses. Malibran and Grisi were two of the 
 most celebrated Desdemonas. 
 
 Tom Moore says: "Another electrifying obser- 
 
( -23 ) 
 
 vation of mine was that I would much rather see 
 ' Othello ' and ' Romeo and Juliet ' as Italian 
 operas, played by Pasta, than the original of Shake- 
 speare as acted on the London stage." — Moore's 
 " Diary," edited by Lord Russell. 
 
 Lord Byron to Murray, Venice, February 20th, 
 1818 : " P. S. — To-morrow night I am going to see 
 * Otello,' an opera from our ' Othello ; ' one of Ros- 
 sini's best, it is said. It will be curious to see in 
 Venice the Venetian story itself represented, be- 
 sides to discover what they will make of Shake- 
 speare in music." Soon after he writes: "The 
 music, singing, dresses, etc., are very good,, but the 
 words on account of the 'cuts' make nonsense." 
 
 1833. Feb. Oratokio of "Moses in Egypt." 
 At Musical Fund Hall. 
 Fornasari, as Pharoah. 
 Corsetti, Moses. 
 Pedrotti, Aaron. 
 Signora Pedrotti, Elcia. 
 Signora Saccomani, Nicaule. 
 This was a company of much artistic merit. 
 Montresor, the principal tenor, though somewhat 
 passS in voice, had an admirable method and sang 
 with great expression. Signora Pedrotti was quite 
 
( 24 ) 
 
 acceptable, though she occasionally sang flat ; this 
 was, however, less offensive in her than was usual 
 in vocalists. Fornasari possessed an immense voice, 
 bass or baritone, and was considered a very hand- 
 some man. He appeared on second and third rate 
 stages in Italy in 1828. In 1831 he was singing in 
 Milan; next in New York in 1832. He sang in 
 Havana in 1835, and in Mexico, 1836. Chorley 
 says : " He sang with bad method and with con- 
 fidence." 
 
 This company introduced Bellini's music to us 
 for the first time, and the lovelj^ melodies of "II 
 Pirata" have never since been heard here, no 
 tenor being equal to the part since Montresor. 
 
 The " Pirata " was written for Rubini, the greatest 
 tenor that ever lived, except, perhaps, Farinelli, 
 who from accounts possessed the same marvellous 
 facility of voice and perfect union of the registers, 
 and the same mastery in swelling and diminishing 
 his notes. With this company came Bagioli, the 
 musical director, and Rapetti, the violinist and 
 leader of the orchestra. He has frequently played 
 in concerts in this city. Bagioli remained in New 
 York and taught singing. 
 
( 25 ) 
 
 1833. The French Opera Company, New Orleans, 
 Chestnut Street Theatre. 
 
 Sept. 12. " La Gazza Ladea." 
 
 M3I. Privat, Alfred, AmedSe, Gourdalt; 
 Mines. St. Clair, Mariage, Chambery. 
 
 Sept. 12. " Zampa." 
 
 Zampa, Hurteaux; Alphonse, Amedie; Ca- 
 mille, Mme. St. Clair; Ritta, Mme. Mariage. 
 
 The following operas were also performed by 
 this company : 
 
 "La Fiancee." 
 
 "Jean," and "Rossignol." 
 
 "Le Philtre." 
 
 "La Dame Blanche." 
 
 "La Tour de Nesle." 
 
 " La Muette de Portici." 
 
 Oct. 7. Mr. and Mrs. Wood, late Miss Paton, make 
 their first appearance at the Chestnut 
 Street Theatre, in 
 "Love in a Village." 
 Assisted by Messieurs Walton and Mwrdock. 
 Walton was baritone and played Figaro. 
 
( --^^ ) 
 
 "The Barber of Seville." 
 " Cinderella." 
 "Marriage of Figaro." 
 By the same performers, aided by Mrs. 
 Rowbotham and Mrs. Kent. 
 
 Oct. 16. " Guy Mannering." 
 
 "Benefit of Mrs. Wood, who will sing 
 ' Here's bonny Scotland to thee ! ' and 
 'Lightly beats the heart.' Mr. Wood 
 will sing 'The Soldier's Tear,' 'The 
 toast be dear woman,' and 'The Sea.' 
 The performance will conclude with 
 "'The Waterman.'" 
 
 Oct. 18. " The Slave." 
 
 The Woods, and Mr. and Mrs. Maywood. 
 
 Oct. 19. " Rob Eoy." 
 
 Oct. 21. " Cinderella." 
 
 Oct. 22. " Masaniello." 
 
 By the same performers. 
 
 Oct. 23. Miss Fanny Kemble's first appearance. 
 
( 27 ■) 
 
 1834. Feb. 10. "Marriage of Figaro." 
 
 Chestnut Street Theatre. The Woods, 
 Rowbotham, and Walton. Then follow: 
 
 " Masaniello." 
 
 " Der Freischutz." 
 
 "Fra Diavolo." 
 
 " Cinderella." 
 
 " Duenna." 
 The above artists and Mrs. Thayer. 
 " The Devil's Bridge," and "The Quaker." 
 
 March 6. " The Maid of Judah." (" Ivanhoe.") 
 The music taken mostly from "Mose in 
 Egitto." 
 
 In April, advertisements announced the open- 
 ing at the Chestnut Street Theatre of the Rivafiroli 
 Opera Troupe. Seven new operas will be per- 
 formed in the season, which is limited to ten 
 nights. The artists are : 
 
 Signorina Clementina Fanti, soprano. 
 
 Signorina Rosina Fanti. 
 
 Signorina Luigia Bordogni, contralto. 
 
 Mme. Schneider- Maroncelli, contralto. 
 
 Signor Fabj, tenor. 
 
 Signor Ravaglia, tenor. 
 
( 28 ) 
 
 Signor DeRosa, bass. 
 
 Signor Porto, bass. 
 
 With them came Gambati, so well known for 
 his performance on the cornet-&,-piston, at that time 
 a new instrument to us, and also for his contests 
 with John T. Norton on his trumpet. Norton, who 
 was a thorough John Bull, finally won the prize. 
 He used to boast that "macaroni could not play 
 against roast beef" Cioflfi, an excellent performer 
 on the trombone, came with this company. 
 
 J. T. Norton, "of the King's Theatre," first ap- 
 peared here in 1827. First night of the season : 
 
 April 9. "Il Barbiere di Stviglia." 
 
 April 11. "La Cenerentola." 
 
 Prince, Sig. Ravaglia; Dandini, DeRosa; 
 Cinderella, Signorina Bordogni; Clorinda, 
 Rosa Fanti; Magnijico, Orlandini. 
 
 April 17. " Matrimonia Segretto." 
 
 C. Fanti, Marozzi, Bordogni, Orlandini. 
 
 This opera is considered Cimarosa's masterpiece. 
 It was first performed in Vienna, 1792. The Em- 
 peror Leopold IL, who was present, was so delighted 
 
( 29 ) 
 
 that he ordered a supper for all the performers and 
 commanded a repetition of the whole opera. The 
 libretto was founded on Garrick and Colman's 
 ^'Clandestine Marriage." 
 
 Lord Mount Edgcumbe, a high authority in the 
 early part of this century, and who wrote operas 
 himself, and held Cimarosa and Paisiello as 
 models, denounces in his " Musical Reminiscences " 
 the " innovations " that Rossini introduced into 
 dramatic music. Concerted pieces in which the 
 dramatic action is kept up are introduced in situ- 
 ations where formerly there would have been only 
 monologues. By degrees the. bass was brought for- 
 ward until it has become a principal character in 
 all tragic operas. In the old opera, the number of 
 characters was limited and choruses were seldom 
 introduced. Rossini gave us brilliant instrumenta- 
 tion, prominent parts for the bass and baritone, and 
 long and elaborate finales, and he accompanies the 
 recitative with the full band. Lord Mount Edg- 
 cumbe has no sympathy with these novelties, and 
 says : " If a satisfactory air is for a moment intro- 
 duced, which the ear would like to dwell upon, to 
 hear modulated and varied, and returned to again 
 [or " chewed up," as William Fry once said of the 
 airs of a certain opera], it is broken off and returns 
 
( 30 ) 
 
 no more. Even the prima donna, who would for- 
 merly have complained at having less than three or 
 four airs allotted to her, is now satisfied with one 
 trifling cavatina for a whole opera." Rossini's "in- 
 novations" have been adopted by all succeeding 
 composers, and even the best operas of the old 
 Italian school are heard no more on the stage. 
 
 April 21. " La Donna del Lago," Rossini. 
 
 James V., Ravaglia; Douglas, Porto; Rod- 
 eric, Fahj ; Ellen, Fanti; Malcolm, Sig- 
 norina Bordogni. 
 
 April 23. " Gli Akabi nelle Gallie," Pacini. 
 
 April 28. " Matilda di Sabean," Rossini. 
 
 Signorina C. Fanti. 
 
 May 5. " La Gazza Ladra." 
 
 At the Walnut Street Theatre. 
 
 Several of these operas were repeated. 
 
 In the United States Gazette, April 15th, 1834, a 
 critic writes: "Bordogni, the charming contralto, 
 in ' Cenerentola ' enraptured all hearers ; she is 
 young, beautiful and unaffected. The company 
 individually is inferior to Montresor's or Garcia's ; 
 
( 31 ) 
 
 but the ensemble immeasurably surpasses either of 
 them. The chorus in perfection unknown hitherto 
 in this country, and orcliestra unrivalled. 
 
 [Signed] Amateur." 
 Bordogni was the daughter of the celebrated 
 singing master of that name in Paris. She was 
 married in New York, in 1834, to I. B. I. Willent, 
 a distinguished performer on the bassoon. 
 
 In December, 1834, Miss Watson, Miss S. Phillips, 
 and Messrs. Latham and Hunt, played in English : 
 " Cinderella." 
 " Barber op Seville." "^ 
 " Marriage of Figaro." ^ 
 And some ballad operas. 
 
 1885. -^^®- ^'w^**'''; -^™- Rowbotham, Mrs. Watson, 
 
 Miss WatsOn, Messrs. Walton, Rowbotham 
 and Burton, during February, March 
 and December performed: 
 
 " Marriage of Figaro." 
 
 " Masaniello." 
 
 (The opera with a dumb prima donna.) 
 
 And several ballad operas. 
 
 1836. Chestnut Street Theatre. 
 
 Mr. and Mrs. Wood, and Mr. Brough, make 
 
( 32 ) 
 
 their first appearance, aided by Messrs. 
 Walton and Burton: 
 
 Jan. 18. " The Maid of Judah." 
 
 Followed by : 
 " Masaniello." 
 " Fra Diavolo." 
 " Barber of Seville." 
 This season was my first experience of opera. 
 
 Beaumarchais from his youth had a passion for 
 music; he sang with taste, and was a good per- 
 former on the flute and- harp. His reputation as a 
 harpist soon reached the ears of " Mesdames de 
 France," the daughters of Louis XV. These four 
 sisters with a retired mode of life devoted them- 
 selves to a variety of studies, and were especially 
 fond of music. " Mme. Adelaide played every in- 
 strument, from the horn to the jewsharp." They 
 expressed a wish to take lessons of Beaumarchais. 
 He received no payment. In the private parties of 
 the royal family, his talent and wit eclipsed that of 
 most of the nobles. He wrote the " Barber " in 
 order to introduce some Spanish airs which he 
 brought from Madrid. " I compose," he writes at 
 that epoch, " airs to my words and words to my 
 
( 33 ) 
 
 airs." The " Barber " as a comic opera was refused 
 point-blank by the Italian actors in 1772. Gudin 
 attributes this refusal to the principal actor, Clari- 
 val, who had commenced life as a barber, and who, 
 after representing Figaro in the shops of Paris, had 
 an invincible antipathy to every part which re- 
 minded him of his original profession. 
 
 Jan. 27. "The Mountain Sylph," Barnett. 
 
 Mr. and Mrs. Wood, and company, con- 
 sisting of Mrs. Rowbothom, Walton, and 
 some singing members of the Chestnut 
 Street Theatre. 
 
 Feb. 11. '' La Sonnambula." 
 
 First time here. Mr. and Mrs. Wood, 
 Mrs. Rowbotham, Brough, and Walton. 
 It was performed fourteen consecutive 
 nights. 
 
 May 13. "Sonnambula." 
 
 Twenty-first time, and for the -farewell 
 benefit of Mrs. Wood. 
 
 1837. Jan. 22. " Cindekella." 
 
 Chestnut Street Theatre. Mrs. Qibbs (for- 
 
( 34 ) 
 
 merly Miss Gmddon), Mrs. Rowbotham, 
 Messrs. Pearson, T., Walton, and Burton. 
 
 Jan. 27. "John of Paris." 
 
 Same companj^. 
 
 "SONNAMBULA." 
 
 By the same company; several repeti- 
 tions. 
 "Sonnambula" was composed in 1831. Ro- 
 mani, the first of modern Italian librettists, pre- 
 pared the book on the basis of a vaudeville and 
 ballet by Scribe. "No Italian opera before or 
 since ' Sonnambula ' has been so often played 
 in London." — 8. Edwards. 
 
 June 19. "Cinderella." 
 
 Arch Street Theatre. Miss Turpin, Mrs. 
 Rowbotham, Miss Morgan, Mr. Pearson. 
 
 " Sonnambula." 
 Same company. 
 
 Sept. 1. "Sonnambula." 
 
 Miss Horton, Mrs. R. Hamilton (late Mrs. 
 Rowbotham), Messrs. Horn and Brough. 
 
( 35 ) 
 
 Nov. 8. "Don Juan." 
 
 Chestnut Street Theatre. Miss Horton, 
 Miss Morgan, G. E. Horn, Brough, Pear- 
 son and Walton. 
 
 1838. Jan. 10. " Sonnambula." 
 
 First appearance of Mme. Otto, Mrs. 
 Hamilton, Brough. 
 
 Jan. 13. "Maid of Cashmere." 
 
 Petite Augusta {Miss Maywood), Miss Mor- 
 gan, Pearson. 
 "Castle of Andalusia." 
 Mme. Otto, Miss Morgan, Brough, and 
 
 Pearson. 
 Mme. Otto possessed a strong voice and 
 a strong German accent. 
 
 Feb. 12. " The Barber of Seville." 
 
 Mme. Caradori- Allan ; her first appear- 
 ance. Brough, Walton, Pearson and Bur- 
 ton. 
 She also appeared in: 
 
 "Love in a Village." 
 " Cinderella." 
 "Sonnambula." 
 
( 36 ) 
 
 With the exception of Walton, who lacked 
 musical training, but had some conception of 
 the music, the support was not worthy of notice. 
 
 Caradori-Allan had a lovely and highly-cul- 
 tivated pure soprano voice; not strong, but sym- 
 pathetic, and of large compass, good method 
 and execution. She was born in Milan in ISDO. 
 Her mother's name was Caradori. At the death 
 of her father. Baron de Munck, an Alsacian, 
 and colonel in the French army, she was- 
 obliged to use her talent for support, and made 
 her dibut on the stage in 1822. She died in 
 1865. 
 
 Mrs. Rowbotham, afterwards Mrs. Hamilton, was 
 a singing actress; but she acquitted herself very 
 creditably in the operas produced at this time. 
 She was intelligent, and quite agreeable on the 
 stage. Mr. Walton also gave considerable pleasure 
 in those early days of the opera. 
 
 Mar. 10. "Fra Diavolo." 
 
 Brough as Fra Diavolo. 
 First time here. 
 
 Nov. 19. "Amilie; or. The Love-Test." 
 
 W. M. Rooke. 
 
( 37 ) 
 
 Mme. Otto, Brougli, and Bishop. 
 First time, Walnut Street Theatre. 
 
 1839. Jan. 11. "La Sonnambula." 
 
 Chestnut Street Theatre. 
 Miss Shixeff, Messrs. Wilson and Seguin, Miss 
 
 DeBarr. 
 Their first appearance. 
 
 Jan. 18. "Amilie." 
 
 Miss Shireff, i/c;.s.si-.s. Wilson and Seguin. 
 These operas ran till the 29th. 
 
 Jan. 29. "Fra Diavolo." 
 
 Shireff, Wilson, Seguin, Walton, Horncastle. 
 
 " Cinderella." 
 
 "Marriage of Figaro." 
 
 "Guy Mannering." 
 
 "Love in a Village." 
 By the same com])any. 
 
 Nov. 4. "Der Freischijtz." 
 
 Mrs. Seguin, Messrs. Seguin, Horncastle and 
 Plumer, T. 
 
 Nov. 9. "Marriage of Figaro." 
 
( 38 ) 
 
 The Seguins, Horncastle, Latham, and com- 
 pany. 
 Boxes, 75 cents; pit, 37 J cents. 
 
 1840. Mr. and Mrs. Wood, and Brough, open at 
 
 the Chestnut with : 
 
 t 
 
 Oct. 26. "La Sonnambula." 
 
 And follow with their usual repertoire. 
 Mr. Braham appeared at the new Na- 
 tional Theatre, Chestnut Street near 
 Ninth, in the following operas : 
 
 Nov. 30. "tluY Mannerino." 
 
 Mr. Braham, Mrs. Baily, Miss Cushman. 
 "The Devil's Bridge." 
 "Love in a Village." 
 "Siege of Belgrade." 
 "The Slave," and the 
 "Cabinet." 
 "Norma." 
 First time in America, Chestnut Street 
 Theatre. 
 Translated by Joseph R. Fry from the Italian 
 libretto of Romani. He and his brother, William 
 H. Fry, produced the opera at their own risk. It 
 was admirably placed upon the stage. There ap- 
 
( 39 ) 
 
 peared in it Mr. and Mrs. Wood, Mrs. Baily, and 
 Brough, and a large and well-drilled chorus and 
 orchestra. 
 
 1841.Jan. 11. "Norma." 
 
 First night at the National Theatre. 
 Mrs Sutton, ]\fiss Inverarity, Mrs. Martyn, 
 
 Mr. Thome. 
 The part of Clav.dio was sung by a woman. 
 
 Jan. 18. " Aetaxeexes," Dr. Arne. 
 
 National Theatre. 
 Miss Inverarity, Mrs. Sutton, Mrs. Martyn. 
 
 Feb. 4. "NoEMA." 
 
 Complimentary benefit to Joseph R. Fry. 
 Admission to all parts of the house, $2. 
 
 Mrs. Wood possessed a rich and powerful voice 
 of great compass, her low notes being full as a 
 contralto and her registers even and clear, up to 
 the highest limit of the soprano scale. She had 
 great facility, and sang with much dramatic feeling 
 and always with confidence, being an excellent 
 musician. 
 
 Mr. Wood's voice was a robust tenor; he was 
 
( 40 ) , 
 
 probably indebted to his wife for all he knew of the 
 art of singing. 
 
 Brough's vocalization was uncouth and rough, 
 and altogether deficient in method. 
 
 May 1. "La (Iazza Ladra." 
 
 Chestnut Street Theatre. 
 Misa Poole, the Seguina. Giithelei, and Pearson. 
 
 This opera was Avfitten for Milan in 1817. The 
 part of Nincfto was a favorite character with Sontag, 
 Malibran and (Irisi, and was sung in 1 .S21 by Mme. 
 Camporese in London, and by Mme. Fodor, the 
 Russian, in Paris ; both were admirable perform- 
 ances. The part of Pippo, originally written for a 
 contralto, used to be sung in London and Paris by 
 a baritone or bass. Lord Mount EdgCumbe con- 
 sidered " La Gazza Ladra " the most striking ex- 
 ample of the defects of the new style of drama. 
 The only opera of Rossini which he really liked 
 was "Aureliano in Palmira," written in Rossini's 
 earliest style, and which failed. 
 
 May 4. " Don Giovanni." 
 
 Qiuheld, Manvers, the Seguins, and Miss 
 Poole. 
 
( 41 ) 
 May 8. " L'Elisire d'Amore." 
 
 May 12. " Zampa." 
 
 First time in English. 
 The Seguins, Miss Poole, Manvers. 
 "Fra Diavolo." 
 " Cinderella." 
 " sonnambula." 
 Mrs. Seguiii as Amina. 
 " Midas." 
 Miss Poole and company. 
 
 June 7. " Norma." 
 
 The Seguins, Miss Poole, Manvers, Oiubelei. 
 
 June 11. " The Roof-Scrambler." 
 
 A clever burlesque by W. F. Johnston. 
 
 " Mitchell's Olympic Company." 
 
 Burlesque, from New York. 
 
 National Theatre. 
 
 Mitchell, Homcastle, Edwin, Mrs. Timm, and 
 
 Miss Turnbull. 
 Said to be very droll. 
 
 Sept. 1. Mile. Faniiij Ehslcr. 
 
 Chestnut Ftreet Theatre. 
 
( 42 ) 
 
 "Natalie." M. Sylvain. 
 
 " La Sylphide." 
 
 "La Cracovienne." 
 
 "Maid of Cashmere." Mile, des Jardins. 
 
 "La Smolenska." 
 
 Dec. 24. " The Bronze Horse." 
 
 As a spectacle, with a portion of the music. 
 
 Arch Street Theatre. 
 The first volume of the United States Gazette, 
 January-June of 1841, is yet wanting to complete 
 the full set belonging to the library of the His- 
 torical Society. There were no new operas to 
 note in this year. 
 
 1842. The Seguins, with Miss Chad and if?'. Shrival, 
 gave a series of operas at the Chestnut. 
 
 Dec. 5. " SONNAMBULA." 
 
 The Seguins, Miss Coad, Shrival, T., P. Rich- 
 ings. 
 
 " Barber op Seville." 
 " Postillion." 
 
 Dec. 15. " Israelites in Egypt." Rossini. 
 
( 43 ) 
 
 Seguins, Mrs. Bailey, Shrival, Richings. 
 Boxes, 50 cents ; pit, 25 cents. 
 
 1843. The Seguin company repeated their usual re- 
 pertoire. 
 
 Feb. 6. " Blanche op Jersey." 
 
 Chestnut Street Theatre, first night of the 
 French opera from New Orleans: 
 
 Sept. 14. " L'Ambassadrice." 
 
 Mile. CalvS, Mmes. Lecourt, Mathieu, Mile. 
 Lagier, MM. Lecourt, Bernard, Richer. 
 Boxes, 75 cents; pit, 50 cents. 
 
 Sept. 22. "Les Diamans de la Couronne." 
 Mile. CalvS, Mme. Lecourt, M. Lecourt. 
 
 Sept. 23. "Les Memoires du Diable." 
 
 Sept. 25. "La Fille du Regiment." 
 
 (Mv&, Mme. Mathieu, Robillion, etc. 
 
 Sept. 29. " Postillion op Lonjumeau." 
 Mme. Lecourt, M. Lecourt, M. Bles. 
 
( 44 ) 
 
 Sept. 30. " Le Grace de Dieu." 
 
 Jime. Lecourt, Mile. Eugenie, etc. 
 
 Oct. 3. " Le Domino Noir." 
 
 f Angile, the Black Domino, 
 Calv6< Ineselle of Aragon, and 
 
 (^the Abbess of the Convent. 
 Mme. Lecourt, Mathieu, Robillion; MM. 
 Richer, Lecourt, Dessonville. 
 
 Oct. 7. "Anna Bolena." 
 
 Anna, Mile. Calvi; Henry VLIL, M. Bles; 
 Percy, Lecourt; Jane Seymour, Mme. Le- 
 court. 
 
 Oct. 14. " POLICHINEL," " L'ECLAIR," and "ACTEOK." 
 
 Calv&, Eugenie, Mme. Dessonville, Lecourt. 
 
 Oct. 17. "La Perruche" and " La Rendezvous 
 Bourgeois." 
 
 Oct. 18. " Le Pre aux Clercs," Herold. 
 
 Mile. Calv6 was equally charming as vocal- 
 ist and actress. She was a graceful and light 
 soprano, and was a great favorite. 
 
( 45 ) 
 
 Miss Shireff was young and good-looking, 
 had an agreeable voice, and sang well, though 
 she could not be compared with Mrs. Wood as 
 an artist. 
 
 Mr. Wilson was the best tenor I had heard 
 up to that time. His voice was of considerable 
 range and his method much above the average 
 English vocalists. He and Miss- Shireff were 
 conscientious singers and always sang to the best 
 of their ability. 
 
 Mr. and Mrs. Seguin, Manvers, and some 
 others who came to this country, received their 
 musical education at the Royal Academy of 
 Music, London. They were all good musicians. 
 The late Benjamin C. Cross told me, when leader 
 of the orchestra at the Walnut Street Theatre, 
 that at the rehearsals Mrs. Seguin, on hearing 
 any musician of the band play a wrong note, 
 demanded to see the part, and if it was in- 
 correct she at once corrected it with a pencil. 
 Mr. Seguin had an excellent bass voice and a 
 good method, and was a capital actor. In Eng- 
 land he sang at the oratorio festivals, and al- 
 ways with great applause. In this country, 
 having to sing every night, his voice, of course, 
 
( 46 ) 
 
 became impaired ; but his good acting carried 
 him through with approbation. 
 
 Miss Poole had a contralto voice, smoooth 
 and round as her person. In ballads, such as 
 "Pray, Goodie," and "The Mountain Maid" in 
 " Midas," and as Pippo in " La Gazza Ladra," 
 Ritta in " Zampa," and even Adelgisa in " Nor- 
 ma," she was charming, not so much by her 
 method as by her simplicity of manner and 
 lovely, sympathetic^ voice. 
 
 Miss Watson obtained some notoriety by her 
 escapade with Paganini. Her voice was an agree- 
 able low mezzo-soprano. She afterwards became 
 Mrs. Bailey. 
 
 Braham, nearly seventy yearS old when he 
 came to the United States, had the wreck of a 
 great voice. Time had brought some unfortu- 
 nate breaks in the registers ; but some notes 
 were grand, and he must have been very ef- 
 fective when in his prime, in ballads such as 
 "The Bay of Biscay," and the like. 
 
 Shrival was a feeble tenor, with neither 
 style nor expression. 
 
 Manvers, although he had not much voice, 
 sang with some taste. He was a tenor. 
 
( 47 ) 
 
 Giubelei, baritone, was a good artist and 
 had a good method. 
 
 An Italian opera company played a short 
 season at the Chestnut Street Theatre : 
 
 Nov. 13. "Norma." 
 
 Ester Corsini, Amalia Majocchi, Perozzi, 
 Valtelina. 
 
 Nov. 15. " Lucia di Lammermoor." 
 Majocchi, Perozzi, Valtelina. 
 
 Nov. 17. "Belisakio." 
 
 Sig. Calvet, Vittoria, Signore Corsini and 
 Majocchi. 
 
 Nov. 20. "PURITANI." 
 
 Corsini, Calvet, Perozzi, Valtelina. . 
 
 " Gemma di Vergy." 
 Majocchi, Calvet, Perozzi, and company. 
 
 Dec. 14. 
 
 Concert of the Musical Fund Society. 
 Madame Ointi Damoreau, and M. Artot on 
 the violin. 
 
( 48 ) 
 
 ] ,S44. The Seguins, with Mrs. Phillips and Shrival, 
 
 T., open a season of opera at the Chestnut 
 with : 
 
 April .'5. " SONNAMBULA." 
 
 Followed by their usual series, and pro- 
 ducing for the first time in English : 
 
 April 1 2. " Anna Boleyn." 
 
 Translated by Joseph R. Fry. 
 Shrival, the tenor, was so wretched that the 
 performance left no impression on me. 
 
 May 28. " Gustavus III. ; or, The Masked Ball," 
 
 Auber. 
 Seguins, Richings, Shrival, Johnston. 
 
 Dec. 30. " Bohemian Girl." 
 
 First time. 
 Seguins, Messrs. Tumbull, Frazer, Brunton. 
 
 1845. June 4. First night of William H. Fry's opera: 
 
 " Leonora." 
 Libretto by Joseph R. Fry. 
 Mr. and Mrs. Seguin, Miss Inee, Frazer, 
 Richings. 
 
( 49 ) 
 
 Orchestra of fifty instruments and a grand 
 chorus of seventy voices, and new 
 scenery. 
 
 " Leonora " is the first American work worthy to 
 he called an opera. It is written in the Italian 
 manner, in which there is no spoken dialogue, and 
 all the airs, recitatives, etc., are accompanied by the. 
 full orchestra. The melodies are expressive and 
 flowing, the concerted music is effective and large 
 in style, and the choruses full of spirit. Mr. Robert 
 Patterson, who was more intimate with William 
 Fry than I, says of his operas : " They were ambiti- 
 ous attempts, and brought out with large and ex- 
 cellently-drilled choruses and orchestra ; the solo 
 singers were of but moderate excellence. Mr. Fry 
 was well educated, and wrote skilfully for the voice 
 and orchestra. He was thought by some to lack- 
 originality, although that is by no means my own 
 judgment. Had his opportunities been better, as 
 his musical genius was realh' great, he would doubt- 
 less have outgrown some defects and. developed into 
 a composer of recognized merit ; but the necessities ' 
 of his life constrained him in a great measure to 
 abandon music for the engrossing labors of an 
 editor." 
 
 "Anna Bolena," which was produced April 12th, 
 
( 50 ) 
 
 was so weak a performance, owing to the feebleness 
 of the tenor, that it would deserve no notice, except 
 to account for the introduction into the opera of the 
 air of " Home, Sweet Home." 
 
 Lord Houghton, writing to the London Athen- 
 seum, says : " I was residing at Milan with my 
 family at the time of the production of 'Anna 
 Bolena' (1830). We were very intimate with 
 Madame Pasta. I well remember her calling one 
 day and telling us she was very much discontented 
 with her share in the partition of the last scene of 
 the opera, and added : ' You English have so many 
 beautiful airs which you sing among yourselves, 
 that I am sure you could help me.' My mother, 
 who was a fine musician, mentioned ' Home, Sweet 
 Home.' She sang it, and Mme. Pasta, sitting down 
 to the piano, said : ' It will do ! I am sure it will 
 do ! ' Donizetti adopted it accordingly, and thanked 
 us for having got him out of the difficulty." 
 
 "Anna Bolena" was composed for Pasta, Rubini 
 and Lablache. 
 
 The French Opera Company from New Orleans 
 appear for a short season. Chestnut Street Theatre : 
 
 Sept. 29. " La Favorite." 
 
( 51 ) 
 
 Mile. Calve, Mme. Cosuriot, M. Arnaud, 
 Oarry. 
 
 Oct. 1 . "La Fille du Regiment." 
 
 Marie, Calvi; Sulpice, Bernard; Mathieu. 
 
 Oct. 2. " Robert le Diable." 
 
 Robert, Arnaud; Bertram, Douvry ; Isabella, 
 Casini; Alice, Mme. Coeuriot. 
 
 Oct. 3. " Le Domino Noie." 
 
 Angeli, COlve; Brigite, Coeuriot. 
 Followed by : 
 "Les Petites Miseres de la Vie Humaine." 
 
 Oct. 6. "La Muette de Poetici." 
 
 M. Arnaud; Elvira, Casini; Fenella, Coeuriot. 
 
 Oct. 8. " L'Ambassadrice." 
 
 CalvS, Cosuriot. 
 
 Oct. 9. "La Juive." 
 
 Rachel, Arnaud, Douvry, Mme. Casini. 
 
 Oct. 11. "Les Huguenots." 
 
 Valentine, Calve; Margarite, Casini; Ur- 
 
( 52 ) 
 
 bain, Mme. Richer; Arimud; Marcel, 
 Dotivry. 
 
 Chestnut Street Theatre. 
 
 Oct. " SONNAMBULA." 
 
 " Freischutz." 
 
 " Fra Diavolo." 
 Miss Delcy, Gardner, and Brough. 
 Wretched. 
 
 Nov. 11. "The Puritans." 
 
 English version. 
 The Seguins, Frazer, and Delavanti. 
 
 " SoNNAMBULA." 
 
 " Love-Spell." 
 "Norma." ■ 
 "Bohemian Girl." 
 "Rob Roy."^ 
 
 1846. Feb. 21. "The Enchantress." 
 
 At the Walnut Street Theatre, by \h.e 
 stock company, Peter Richings, Wheatley, 
 Chapman, Miss Goad, etc. It had a 
 long run! "The Enchantress" was 
 written by Balfe for Mme. Thillon. 
 
( 53 ) 
 
 March 21. "Bohemian Girl." 
 
 By the same company. 
 
 April 27. "Don Pasquale." 
 
 Chestnut Street Theatre. 
 The Seguins, Frazer, Meyer. 
 Boxes, 50 cents. 
 " Olympic Revels." 
 Prometheus, Seguin; Svnss Boy, Burton; 
 Jupite); Frazer; Pandora, Mrs. Seguin. 
 
 May 6. " The Brewer of Preston." 
 The Seguins and Frazer. 
 " Elixir of Love." 
 " John of Paris." 
 "Maritaxa," etc. 
 
 Decs. Fry's "Leonora." 
 
 Walnut Street Theatre. 
 The Seguins, Miss Aitstin, Frazer, Aleyer.. 
 Sung four consecutive nights. 
 
 Dec. 16. " LuLi," By /. T. S. Sullivan and Jarvis. 
 The Segvdns, Frazer, Chapman, Miss Austin, 
 Ran four nights. 
 
( 54 ) 
 
 Frazer was acceptable as an English singer of that 
 time, though much inferior to Wilson. 
 
 1847. A\'alnut Street Theatre, July. The following ad- 
 vertisement appeared in the newspapers : " The di- 
 rectors of the Italian Opera Company from Havana, 
 seventy-two in number (whose recent brilliant suc- 
 cess in New York and Boston has been beyond all 
 precedent), respectfully announce that they will 
 commence a season of eight nights only." 
 
 July 12. "Saffo," Pacini. 
 
 Signorina Fortunata Tedesco, Perozzi, Pie- 
 montesi, Candi, Mme. Marini. 
 Repeated. 
 
 July 14. " Hfrnani." 
 
 First time in Philadelphia. 
 
 'IvdcHco, N. Perelli, Luigi Vita, Novelli. 
 Repeated. 
 
 July 17. '" I LoMBARDI." 
 
 At the first Crusades. 
 )S%'. Gerdi, Caranti de Vita, Perozzi, Novelli. 
 
 July 19. "Due Foscari." 
 
( 55 ) 
 
 First time in this city. 
 Vita, Perelli, Battalini, Sig" Ranieri, and 
 
 Gerdi. 
 This opera has never since been repeated 
 
 here. 
 
 •July 20. " SONNAMBULA." 
 
 Caranti de Vita, Perelli, and Vita. 
 
 July 22. " Moses in Egypt." 
 
 Chinese Museum. 
 
 Caranti de Vita, Gerdi, Perelli, Novelli, Pe- 
 rozzi, Vita. 
 
 July 23. "Norma." 
 
 Tedesco, Ranieri, Severe, T., Battalini, B. 
 Repeated. 
 
 July 24. " SoNNAMBULA." 
 
 After the opera, "La Festa degli Zin- 
 gari," a grand duo di bravura for the 
 violin and double-bass, composed and 
 executed by Bottesini and Arditi. 
 
 July 28. "Linda." 
 
( 56 ) 
 
 Battalini, Perelli, Novelli, Caranti de Vita, 
 Marini, Vita. 
 
 Aug. 6. " Romeo and Juliet," Bellini. 
 
 Romeo, Tedesco; Jidiet, Caranti de Vita; 
 Perozzi. 
 
 Boxes, $1 ; pit, 50 cents. 
 
 This company was the first to introduce Verdi's 
 music to Philadelphia, — his sustained style, in- 
 tensely dramatic situations, grand finales and con- 
 certed pieces ; altogether it was a new experience 
 to us. 
 
 Fortunata Tedesco was a mezzo-soprano, with a 
 full, strong, luscious voice. She was deficient in 
 method, but c^uite effective in Verdi's music. 
 
 Natale Perelli, the tenor, was an excellent mu- 
 sician and sang very well. He was induced by Mr. 
 Pierce Butler to remain in Philadelphia and give 
 lessons in singing. He did more to improve the 
 taste and extend the knowledge of vocal music than 
 all the teachers who preceded him. 
 
 Luigi '\''ita, baritone, had a pure voice and ex- 
 cellent method. 
 
 Novelli was a good bass and had a good method ; 
 
( 57 ) 
 
 his respiration was deficient, but his knowledge and 
 skill rendered it scarcely perceptible. 
 
 Severi, tenor, lost his voice in crossing the ocean. 
 His style was good, but he sang flat. In this city 
 he appeared only in " Norma." 
 
 With this troupe came Arditi and Bottesini, the 
 greatest contra-bassoist that ever lived. He was su- 
 perior to Dragonetti. Lumley, the celebrated Eng- 
 lish impressario, said of Arditi : " Taking all his 
 qualities into account, no abler conductor ever 
 reigned in England." 
 
 Oct. 11. The Seguin troupe open a short season at 
 the Walnut Street; no novelties. 
 
 Nov. 22. ' " Norma." 
 
 Walnut Street Theatre. 
 
 Mme. Anna Bishop, Mrs. KorsinsJd, Valtelina, 
 B., Reeves, T. ; Director, Bochsa, the cele- 
 brated harpist. 
 
 " SONNAMBULA." 
 
 " Linda," and 
 " LucKEziA Borgia." 
 Same company. 
 
( 58 ) 
 
 Dec. 29. " The Maid of Artois," Balfe. 
 
 Mme. Bishop, Miss Barton, Reeves, and Brough. 
 
 Madame Anna Bishop was a high soprano and 
 a good artist. Her voice was somewhat veiled and 
 worn ; her method M'as good, and she was also a 
 good actress. Her husband was Sir Henry Bishop, 
 the eminent musical composer. 
 
 1848. Sanquirico and Patti's Opera Company gave a 
 short season at the Chestnut Street Theatre. 
 
 Feb. 19. " Gemma di Veegy." 
 
 Sig^. Barili Patti, Amalia Patti, Arnoldi, 
 T., Rossi Cor si, and Rosi. 
 
 This company broke down without com- 
 pleting their engagement. 
 
 March 1. " Lucia di Lammermoor." 
 
 Signora Biscaccianti, nee Ostinelli, her first 
 appearance ; Benedetti, Avignone, Oenovesi. 
 Ran several nights. 
 
 March 7. " Luckezia Borgia." 
 
 Signorina Truffi, Benedetti, Rosi, Sig^. Liefti 
 
 Rossi. 
 Four nights. 
 
( 59 ) 
 
 March 15. " Ernani." 
 
 Truffi, Amoldi, Beneventano, Rosi. 
 
 March 20. " Giurambnto." 
 
 Truffi, Lietti Rossi, Benedetti, Ben&ventano, 
 Piemontesi. 
 
 Benedetti had a robust tenor voice of limited 
 extent, but it was sympathetic in quality. He was 
 neither a good musician nor of a good school ; but 
 he was exceedingly dramatic in his conception of 
 the music and in his declamation, and was a great 
 favorite. 
 
 Truffi's voice was a mezzo-soprano of consider- 
 able power. She was a handsome woman, and 
 very dramatic in style and acting. Her vocalization 
 was far from perfect, and she had a tremolo in her 
 voice which marred the effect of her singing ; but 
 she impressed her audience in a high degree by her 
 earnestness and abandon, and by her excellent 
 dramatic expression. 
 
 Madame Biscaccianti's voice was a clear soprano, 
 with moderate execution and but little dramatic 
 expression. 
 
 Avignone, baritone, had a tremolo in his voice 
 which he could not control ; but he had a refined 
 
( 60 ) 
 
 feeling for music and a good method, and was an 
 intelligent and worthj- man. 
 
 June 5. " SONNAMBULA." 
 
 Chestnut Street Theatre. 
 Biscaccianti, Perelli, Novelli. 
 Five nights. 
 50 and 25 cents. 
 
 June 12. " Lucia di Lammermook." 
 Biscaccianti, Perelli, Avignone. 
 
 Aug. 14. " II Barbieke." 
 
 Walnut Street Theatre. 
 Rosina, Lietti Rossi; Covmt, Vietti; Figaro, 
 Rossi Cor si; Bartolo, Sanquirico ; Bondi. 
 
 Aug. 15. Vocal concert, and instrumental music by 
 Bottesini and Arditi between acts. These 
 performances ran for two weeks. 
 
 Sept. 20. Grand concert of vocal and instrumental 
 music. Perelli, Avignone, Miss Northall, 
 Signori Bottesini . and Arditi. " Grand 
 duo for the violin and contra-basso, on 
 airs from ' Puritani,' and dedicated to 
 
( 61 ) 
 
 the American nation, by Bottesini and 
 Arditi." 
 
 Sept. 25. The Seguins gave a short season at the 
 "Walnut. No additions to their ri.per- 
 toire. 
 
 Italian Opera, Chestnut Street Theatre. 
 
 Oct. 5. " NOKMA." 
 
 Traffi, Amalia Patti, Benedetti as Pollio (first 
 time on any stage), and Valtelina as 
 Oroveso. 
 
 Oct. 6. " L'Elisire d'Amoee." 
 
 Mme. Laborde, M. Laborde, Sanquirico. 
 Boxes, $1. 
 
 Oct. 16. " LucREziA Borgia." 
 
 Truffi, Amalia Patti, Benedetti, Rod. 
 
 Oct. 21. " Lucia." 
 
 The Labordes, Dubreul. 
 
 Oct. .25. "Linda." 
 
 Labordes, Mrs. Boulard, and Dubreul. 
 
 Nov. 6. "A new 'Apropos Overture,' by Mme. 
 
( <i2 ) 
 
 Bishop, and an entirely new piece de 
 circonstance, entitled ' La Sfogata,' in 
 which Mme. Bishop will sustain seven 
 characters." 
 
 Dec. 5. " Linda." 
 
 The Labordes, Signorina Pietto, Sanqiiirico. 
 
 Dec. 11. " Norma." 
 
 Labordes, Amalia Patti, Novelli. 
 
 Dec. 19. " Ernani." 
 
 Four nights. 
 
 Truffi, Perelli, Dubreid, Novelli. Conductor, 
 2Iarefzck. 
 
 Dee. 25. " Lucrezia." 
 
 Truffi, Rossi Corsi, Benedetti, Rosi, Givbelei. 
 
 Dec. "27. " I Lombardi." 
 
 1849. T)'uffi, Mme. Boulard, Benedetti, Rosi, Patti, T. 
 
 Jan. 1. "Il Barbierb." 
 
 3Ime. Labor de, Sig. Patti, T., Rossi Corsi 
 {Figaro), Sanquirico, Giubelei. 
 
 April 23. " The Enchantress," Balfe. 
 
( 63 ) 
 
 ' The Seguirhs, Holman, Leach, W. H. Reeves. 
 Followed by their usual series. 
 
 Oct. 1. " Daughter, of the Regiment." 
 Walnut Street Theatre. 
 Miss Rosa Jacq\i,es, Reeves, Seguin, Mrs. 
 Blake. 
 
 Oct. 2. " The Bravo," Mercadante. 
 
 First time in America. 
 The Seguins, Reeves, and Mr. RicJpings as 
 the Bravo; Violetta, Mrs. Seguin; Meyer. 
 
 Oct. 12. "Don Giovanni." 
 
 The Seguins, Miss Jacques as Zerlina, Reeves, 
 Meyer. 
 
 Nov. 26. Seguins again, at the "Walnut; nothing 
 new. 
 
 1850. The celebrated Havana Italian Opera 
 
 Company will perform at the Chestnut 
 Street Theatre : 
 Sept. 10. "Norma." 
 
 Signorina Balhina Steffanone, Mile. Costini, 
 Lorini, Ignazio Marini. 
 
( 64 ) 
 
 Sept. 11. "LucREziA Borgia." 
 
 tSignorina Bosio, Signorina Vietti, Sig. Ma- 
 rini, Lorini, Coletti. 
 Boxes, $1 ; reserve, 50 cents. 
 
 Sept. 13. " Lucia di Lammermoor." 
 
 Angioliiia Bosio, Sig. Cesare Badiali, Lorenzo 
 Salvi, Coletti, F. Badiali, Baratini. 
 
 Sept. 14. "Ernani." 
 
 Steffanone, A. Vietti, T., Badiali, and Marini, 
 for whom the part of Silva was written. 
 
 Sept. 16. "Sapfo." 
 
 Signorina Tedesco, Vietti, Lorini, Baratini. 
 Orchestra of forty instruments, under 
 Signer Arditi. Maestro of the company, 
 Sig. Bottesini. 
 
 Sept. 20. "Lucia." 
 
 Fourth time, cast as on the 13th. 
 
 Sept. 21. Grand farewell concert of the Havana 
 Opera Company, at the Musical Fund 
 Hall: 
 Bosio. 
 
( 65 ) 
 
 C. Vietti, 
 
 Costini, 
 
 Marini, 
 
 Badiali, 
 
 Salvi, 
 
 Bottesini, on the double-bass. 
 
 Sept. 23. "LucREZiA Borgia." 
 
 Written 1834. 
 Marini, Bosio, Lorini. 
 " Lucrezia Borgia " was written for Milan. In 
 1840 it was produced in Paris. Victor Hugo, author 
 of the tragedy on which it was founded, contested 
 the right of the Italian librettists to borrow plots 
 from French dramas. He gained his action ; 
 " Lucrezia " became at the Italian OpSra in Paris 
 " La Rinegata," the Italians at the Court of Pope 
 Alexander VI. being metamorphosed into Turks. 
 
 Oct. 17. Mile. Jenny Lind's first grand concert at the 
 Chestnut Street Theatre. Tickets sold 
 at "auction. 
 
 Nov. 27. Jenny Lind's thirty-fourth concert in 
 America. 
 
( 66 ) 
 
 Dec. 10. Italian Opera, Chestnut Street Theatre. 
 " Lucia." 
 Mme. Bertucca (her first appearance in 
 opera); Forti, Avignone, Rod. 
 
 Dec. 12. " Don Giovanni." 
 
 T)-uffi, Amalia Patti, Beneventano, Forti, 
 Rod, Sanquirico, Giubelei, Bertucca as Zer- 
 lina. 
 
 Boxes, $1.50 and |1. 
 
 Dec. 16. " Ernani." 
 
 Truffi, Forti, Rosi, Avignons. 
 Repeated. 
 
 Dec. 18. " LucKBZiA." 
 
 Four nights. 
 
 Teresa Parodi, A. Patti, L'orini, Beneventano. 
 Parodi nights, $2.50, $2 and $1. 
 
 Dec. 23. " Norma." 
 
 parodi, Patti, Lorini, Novelli. ♦ 
 
 Dec. 24. " Ernani." 
 
 Parodi, Patti, Lorini, Avignone, Novdli. 
 
( «7 ) 
 
 Dec. 27. "Gemma di Vekgy." 
 
 Gemma, Parodi ; Ida, A.Patti; Tamos, Lo- 
 rini ; Count Vergy, Avignone ; Guido, No- 
 velli; Rolando, Giubelei. 
 
 Dec. 30. " Norma," and Rousset Sisters (dancers). 
 Cast as above. 
 
 1851. Jan. 4. "Paeisina," Donizetti. 
 
 Tniffi, Forti, Avignoni, Rosi. 
 Ballet, Mile. Fitz-James, Sig. Carrese. 
 
 Jan. 8. " GiURAMENTO," Mercadante. 
 
 Truffi, Perrini, M. Forti, Avignone, Giubelei ; 
 sixty dancers. 
 
 Jan. 10. " Ernani." 
 
 Signora Truffi-Benedetti, Forti, Avignone, 
 Rosi. 
 
 Jan. 13. "La Favorita." 
 
 Benefit of E. L. Walker. 
 Truffi, Forti, Benevantano, Rosi. 
 
 The whole of the fourth act, except "Spirito gen- 
 til," which originally belonged to the " Due d'Albe," 
 
( 68 ) 
 
 and the andante to the duo, which was added at the re- 
 hearsals, was written in three hours. Donizetti was 
 dining with a friend who was engaged to an even- 
 ing party, but entreated Donizetti to remain and 
 finish his coffee, of which he was inordinately fond. 
 He asked for some music paper and began his fourth 
 act, and wrote till he completed it at one in the 
 morning, just as his friend returned. 
 
 Rossini was celebrated for his rapidity in compo- 
 sition. The beautiful prayer in " Mose " is a well- 
 known instance. Also the aria dei rizi, " Di tanti 
 palpiti," which was composed while the rice which 
 he had ordered for dinner was being fried ; hence 
 the name. This air was the favorite selection of 
 Pasta in concerts after her retirement from the stage. 
 It was also a favorite selection with Malibran. 
 
 Jan. 14. " Don Giovanni." 
 
 Truffi, A'. Patti, Bertucca, Forti, Beneventano, 
 Oiubelei, Sanquirico, and Rosi. 
 
 Jan. 15. " Ernani." 
 
 Benefit of Teresa Truffi- Benedetti. 
 
 Feb. 10. " Israelites in Egypt." 
 
 Barnum's Museum. 
 
( 69 ) 
 
 The Seguins, Mrs. Baily, Meyer, Gardner. 
 Followed by : 
 
 " La Gazza Ladra," and 
 " Dek Freiscbdtz." 
 
 Havana Opera Company, one hundred and 
 twenty in number, National Theatre. 
 Sept. 22. " Lucia." 
 
 Bosio, Bettini, Badiali, Coletti. 
 
 When our townsman, Mr. Alfred Durand, told 
 Rossini in Paris that we had " Lucia " in Phila- 
 delphia with Salvi, he said : " You have heard an 
 excellent artist." " We had Badiali for Arturo." 
 " He is superb." " And -we had Bosio for Lucia." 
 "Ah! you cannot hear that in Paris." Nilsson was 
 at that time singing there. 
 
 Sept. 24. " I PuRiTANi." 
 
 Bosio, Salvi, Badiali, Marini. 
 
 Boxes, $1.50, $1, and 50 cents. 
 
 Sept. 26. " Ernani." 
 
 Truffi, Bettini, Badiali and Marini, for whom 
 the part of Silva was written. 
 
( 70 ) 
 
 Sept. 27. , " SONNAMBULA." 
 
 Bosio, Costiid, Salvi, L'osi, and Oiubelei. 
 
 Sept. 29. "Dox Pasquale." 
 
 Written in 1843. 
 Bosio, Salvi, Badldii, and Marlni. 
 
 This was the most perfect performance I ever 
 witnessed. Each part was admirably filled. The 
 artists in this opera were probably but little inferior 
 to the great quartette for whom it was written, — 
 Grisi, Mario, Tamburini and Lablache. 
 
 Oct. 4. " Otello." 
 
 3Iine. Bertucca, Bcttini, Vietti, Coletti, Bene- 
 verttaiio. 
 
 Oct. 6. " LUCREZIA." 
 
 Bosio, Miss Whiting, Salvi, Marini. 
 
 Oct. 7. " Norma." 
 
 Mme. Rose de Vries, Bettini. 
 
 Oct. 8. " Favorita." 
 
 Rose de Vries, Bettini, Beneventano. 
 
( 71 ) 
 
 Grand jubilee and farewell. Two entire 
 operas, day and night. 
 
 Oct. 13. " La Favorita," and " I Pueitani." 
 
 Bosio, Rose de ]''ries, Bettini, Lorini, Badiali, 
 
 Marini, Beiieventano, etc. 
 4 P. M. and § P. M. 
 
 Oct. 22. " Crown Diamonds." 
 
 Chestnut Street. 
 
 3Ime. Anna Thillon, Hudson, Meyer. 
 First time in English. 
 
 The Seguins with Mrs. Baily and Bishop 
 open with : 
 Dec. 4. "Amilik" 
 
 At the Walnut Street Theatre. 
 "Fra Diavolo." 
 "Bohemian Girl," etc. 
 
 1852. Feb. 9. " Daughter op the Regiment." 
 Walnut Street. 
 
 Miss Caroline Richings's first appearance in 
 opera; Seguins, Bishop, Mrs. Johyv^GilberL 
 " L'Elisiee d'Amore." 
 " sonnambula." 
 " Linda." 
 
( 72 ) 
 1852. " Norma." 
 
 Oct. 16. Mmes. Thillon and Hudson at the Chestnut. 
 "Crown Diamonds." 
 " Black Domino," etc. 
 
 May 22. Seguins and Mme. Celeste, Walnut Street. 
 
 Sept. 21. Signorina Adelina Patti, "not yet eight 
 years old, yet styled ' la petite Jenny 
 Lind,' in a concert at the Musical Fund 
 Hall." 
 
 Sept. 27. Alboni's first concert. Musical Fund Hall. 
 
 Oct. 13. Mme. Sontag's first concert. Musical Fund 
 Hall. 
 Badiali, Carl Eckert, Paul Julien, Alfred Jaell. 
 
 Oct. 27. "Louisa Miller." 
 
 First time in America. 
 Miss Packings, Bishop, and Rohr. 
 
 The Havana Italian Opera Troupe was the 
 greatest company we had heard in Philadelphia, 
 and it has scarcely since been excelled. 
 
( 73 ) 
 
 Signorina Angiolina Bosio fiivt appeared in this 
 city in 1S50. She was then in the maturity of 
 young womanhood, just twenty years of age. In 
 April she sang in a concert for the Musical Fund So- 
 ciety. In the following September, she sang " Lu- 
 cia " at the National Theatre. Her voice was a pure 
 and lovely soprano, and her method admirable. I 
 had never heard her equal at that time, nor have I 
 heard her superior since. Whether the music was 
 grave or gay, she always sang it with the proper ex- 
 pression, and with exquisite delicacy and finish. 
 Badiali said at that time that on her return to Eu- 
 rope she would rank as the greatest soprano on the 
 stage, and his prediction proved to be true. In New 
 York she was not generally appreciated. A gentle- 
 man on a visit there told me he was invited to the 
 opera to hear Steffanone ; Bosio was not even men- 
 tioned. They sang on the same night. He thought 
 Steffanone sang very well ; but when he heard Bos- 
 io he was delighted. She expressed much pleas- 
 ure at the appreciation shown by her Philadelphia 
 audiences. Bosio was born in Turin, in 1830; was 
 educated at Milan, learned singing under Cataneo, 
 and made her first appearance in opera at the age of 
 sixteen, July, 1846. In 1848 she went to Havana, 
 and thence came to this country. She died in Rus- 
 
( 74 ) 
 
 sia, in 1859. Chorley and other English critics said 
 she improved in every season, and also became a 
 very good actress. 
 
 Steffanone was a mezzo-soprano of a full voice, 
 not quite fresh, but of great dramatic power. Some 
 parts of the opera were sure to be excellent, but 
 others she seemed to slight, as though she wished to 
 save herself from fatigue. 
 
 Salvi, although on the wane, ■\A'as the most fin- 
 ished tenor I had heard. He was of the past school, 
 wlien tenors and bassos studied vocalization and fa- 
 cility of voice, and were able to sing the music of 
 Rossini and his immediate successors as it was writ- 
 ten. His voice, although still pure, had lost some 
 of its Ijrilliancy, but in inezzo-vocc it was delicious. 
 
 Badiali was one of the most satisfactory singers 
 ever heard in this country. He was a low baritone, 
 or basso cantabile of the best school, and a good ac- 
 tor. He was always earnest, and always correct and 
 effective. 
 
 Marini was an excellent bass. He was the 
 double of Lablache. A'erdi wrote the part of Silva 
 for him in the opera of " Ernani." 
 
 Bettini had a high robust tenor voice and good 
 method, and was very effective on the stage. Where 
 Salvi would use the extreme of sostenuto, as in 'Spirito 
 
( 75 ) 
 
 gentil," Bettini's phrases would be separated ; but his 
 large style, and the manly simplicity of his concep- 
 tion of the air and the situation, made it difficult to 
 decide which of the two tenors to prefer. 
 
 Rose de Vries had a strong and clear soprano 
 voice, and sang well. 
 
 Mme. Laborde possessed a very facile soprano 
 voice and sang in bravura style ; in serious music 
 she lacked expression. 
 
 Mme. Anna Bishop's troupe, Walnut Street 
 Theatre. 
 
 Dec. 6. " Linda." 
 
 Followed by : 
 
 " LuriA," 
 " Martha," 
 " LucREZiA," etc. 
 Assisted by Rosa Jacques, A. Braham, Guidi, 
 T., Strini, B. 
 
 Dec. 29. " Part du Diable," Auber, 1843. 
 
 Mme. Thillon, and her company. 
 
 1853. Feb. 28. Walnut Street Theatre, Mme. Alboni's first 
 appearance in opera. 
 
( 76 ) 
 
 1853. '' La Figlia del Regimento." 
 
 Alboni, Rover e, Vietti. 
 
 March 1. " Cenbeentola." 
 
 Alboni, Revere, Vietti. 
 
 March 4. " Sonnambula." 
 
 Alboni, Vietti, Barili. 
 
 Marcli 5. " Norma." 
 
 Alboni, Mms. Seidenburg, Vietti. 
 
 March 7. " II Barbiere." 
 
 Mme. Marietta Alboni, Sangiovani, Revere, 
 Barili. 
 
 March 28. "La Sonnambula." 
 
 National Theatre. 
 
 Mme. Henrietta Sontag, Pozzolini, Badiali. 
 Conductor, Carl Eckert. 
 
 March 30. " La Figlia del Regimento." 
 Sontag, Badiali, Pozzolini. 
 
 April 1. '' LucREziA Borgia." 
 
 Sontag, Mme. Pico Vietti, Badiali, Pozzolini. 
 
( 77 ) 
 
 April 4. " Linda di Chamouni." 
 
 Sontag, Pico Vietti, Badiali, Eocco, Pozzolini. 
 
 April 8. " Don Pasquale." 
 
 Sontag, Badiali, Pozzolini, Rocco. 
 
 April 6. " II Baebieee." 
 
 Sontag, Badiali, Pozzolini, Rocco, Gasparoni. 
 
 April 11. " Lucia di Lammermooe." 
 
 Sontag, Badiali, Pozzolini, Qasparoni. 
 
 April 13. " Maria di Rohan." 
 
 Sontag, Pozzolini, Badiali. 
 
 Pozzolini introduced "Bella adorata." 
 
 Signorina Alboni in voice and perfection of 
 vocalization was probably never surpassed, if 
 equalled. She was entirely free from the masculine 
 quality of the lower register which so frequently 
 impairs the beauty of the contralto voice. These 
 notes were of the same delicious and feminine quality 
 as the other registers. Pier vocalization was simply 
 perfect. Rossini while at Bologna discovered the 
 talent of Alboni, then a very young girl, and taught 
 
( 78, ) 
 
 her very carefully all the great contralto parts of his 
 operas. 
 
 Madame Henrietta Sontag was so well known to 
 the musical world that it is not necessary to charac- 
 terize her singing. She was a complete artist. Her 
 method was admirable, and her execution so perfect 
 that she was fond of singing the most elaborate 
 compositions for the violin, such as "Rocle's Varia- 
 tions," or the "Eondo Valse" by DeBeriot. When 
 she sang here in concert in 1852, Dr. La Roche told 
 me that he found her voice much the same as when 
 he heard it in Europe in 1827. She was born in 
 Coblentz, 1805, and died in Mexico in 1854. 
 
 In my diar)^, April 11th, 1853, is the following 
 note : " Badiali says smoking improve.s his voice. 
 Pozzolini also says that since he smokes his voice is 
 better. Madame Sontag has taken to it, and now 
 will smoke a whole cigar at a time." 
 
 In " Don Pasquale " they dressed in the costume 
 of the present day, and Mme. Sontag was the very 
 impersonation of feminine grace. 
 
 1854. June 14. " Child op the Regiment." 
 Chestnut Street. 
 Mme. de Marguerittes, Strini, and company. 
 
( 79 ) 
 
 Italian opera at the Chestnut Street 
 
 Theatre : 
 Aug. 29. " LUISA IVriLLER." 
 
 Signora Manzini, D'Ormy, Beraldi, T., and 
 
 Ch'aziani, Bar. 
 
 Aug. 31. " PUEITANI." 
 
 Mme. Bertucca, Beraldi, Graziani. 
 
 Sept. 1. " LrcEEziA Bokgia." 
 
 Bertucca, Graziani, Beraldi. 
 
 Sept. 4. " Lucia." 
 
 Manzini, Beraldi, Graziani. 
 
 Sept. 7. " Masaniello." 
 
 Manzini, Beraldi, Graziani. 
 
 Sept. 11. " SONNAMBULA." 
 
 By the same artists. 
 
 Pj'-ne & Harrison Troupe, Walnut Street: 
 Miss Louisa Pyne, 
 Miss Pyne, 
 Mr. Borrani, 
 
( 80 ) 
 
 1854. Reeves, 
 
 Meyer, and W. Harrison. 
 
 Oct. 30. "SONNAMBULA." 
 
 Followed by: 
 Nov. 1. "Cinderella." 
 
 Nov. 3. "Maeitaxa." 
 
 Nov. 8. " Crown Diamonds." 
 
 Nov. 14. " Fra Diavolo." 
 
 "Guy Maxnerixg." 
 Nov. 18. " Beggars' Opera," John Qay, 1727. 
 
 " A satire on polititions and courtiers, under the 
 vices of highwaymen, etc." The tunes, sixty-nine 
 in number, were arranged and scored by Dr. 
 Pepush, who also composed an overture for it. 
 Thomas Linley composed the orchestral accompani- 
 ments to the songs. The songs in the " Beggars' 
 Opera " were not all written by Gay. " The modes 
 of the court," was by Lord Chesterfield; "Virgins 
 are like the fair flower in its lustre " (air by Purcell), 
 was written by Sir Charles Hanbury Williams ; 
 "Where you censure the age," by Swift; and 
 " Gamesters and lawyers are jugglers alike," was 
 by Mr. Fortescue, Master of the EoUs. 
 
 The introduction of Italian opera in England 
 in the beginning of the last century aroused the 
 
( 81 ) 
 
 jealousy of the dramatic writers. Addison wrote 
 an opera, " Rosamond," but it failed ; he possessed 
 some taste for music, which is shown in his humor- 
 ous attacks on the opera. Steel was brutal in his 
 assaults. Mrs. Tafts, the prima donna, became in- 
 sane, arid in a number of The Taller he gloats over 
 her misfortune. He openly expressed his chagrin 
 at the success of Scarlatti's operas. Both he and 
 Addison admired Nicolini, the sopranist, as an 
 actor; but with Handel's music or that of any 
 other master they had no sympathy. 
 
 Addison in The Spectator pleasantly says of the 
 Italian opera in England, and of the translators : 
 " Their chief care was to make the numbers of the 
 English verse answer to those of the Italian, that 
 both might go to the same tune. Thus the famous 
 song in ' Camilla,' — ' Barbara, si, t'intendo,' etc. 
 ('Barbarous woman, yes, I know your meaning'), — 
 which expresses the resentment of an angry lover, 
 was translated into that English lamentation, ' Frail 
 are lovers' hopes,' etc. ; and it was pleasant enough 
 to see the most refined persons of the British nation 
 dying away and languishing to notes that were 
 filled with a spirit of rage and indignation." 
 
 "Hydaspes" was produced under the direction 
 of Signor Nicolini, who performed the part of the 
 
( ^'i ) 
 
 hero. "Hydaspes is thrown into an amphitheatre, 
 to be devoured by a lion. There were many con- 
 jectures of the treatment the lion was to meet with 
 from the hands of Signer Xicolini ; some supposed 
 that he was to subdue him in recitative, as Orpheus 
 used to serve wild beasts in his time, and afterwards 
 knock them in the head; some fancied that the 
 lion Avould not pretend to lay his paws upon the 
 hero, by reason of the received opinion that a lion 
 will not hurt a virgin." He goes on in this 
 pleasant vein. It is worth while to turn to The 
 Spectator to enjoy his agreeable criticisms, as well as 
 to be reminded of the taste regarding Italian opera 
 in England at that time. 
 
 Beraldi was a tenor of good taste and feeling, 
 but his voice was too limited in compass and 
 strength for much success in opera. 
 
 Graziani, baritone, since so celebrated, had a 
 pure though not strong voice, but an excellent 
 method. He returned to Europe in 1854, "and 
 was identified as Count di Luna wherever ' Trova- 
 tore ' was played, whether in Paris or London." 
 He sings up to G and even to A. He has been re- 
 tained in London ever since his first appearance 
 there. 
 
( 83 ) 
 
 Louisa Pyne was a finished English vocalist. 
 She had a good sojjrano voice, not powerful, but 
 pure in quality and of great facility. She was 
 thought to resemble Queen Victoria in her personal 
 appearance. 
 
 1855. Qpigi a^jj(j Mario at the ^A^alnut Street 
 
 Theatre. 
 Jan. 2. " PuRiTANi." 
 
 Grisi, Mario, Badiali, Susini. 
 
 Jan. 5. " LucREZiA Borgia." 
 
 Grisi, Lorini (substituted for Mario, who 
 was ill), Badiali. 
 
 Jan. 6. " XoRMA." 
 
 Grisi, Mme. Donovani, Lorini. 
 
 Mario is far the best tenor I have heard. He 
 was charming in expression, feeling, and finished 
 vocalization ; his voice was under perfect control 
 in all the registers, whether he sang piano or forte, 
 and his mastery in swelling and diminishing his 
 voice was perfection. 
 
 Madame Grisi when she came to this country 
 was as a vooalist no longer young. There was a 
 
( 84 ) 
 
 general disappointment in her voice; it wanted 
 character, and yet when she was thoroughly excited 
 she produced an immense effect on her audience. 
 Her denounciation of Pollione on discovering his 
 faithlessness, was a wonderful piece of acting and 
 dramatic vocalization. It would seem impossible 
 that mere musical scales could be made to express 
 the intensity and fire which fell from her lips. 
 
 » 
 
 1855. Feb. The Pyne troupe commence a series of 
 their operas : 
 
 " Crown Diamonds." 
 " Bohemian Giel." 
 Feb. 22. " Beggars' Opera." 
 
 Feb. 23. " Cinderella." 
 
 Ran to March 18th. 
 June. Miss Rosalie A. Durand, with Lyster and 
 W. H. Reeves, played a series of Eng- 
 lish opera at the City Museum, Callow- ■ 
 hill Street. 
 
 Sept. 12. " Star of the North." 
 
 Walnut Street Theatre. 
 Mr. Richings as Peter; Miss Caroline Rich- 
 ings as Catharine; and Mr. A'Becket as 
 Gritzenko. 
 
( 85 ) 
 
 1856. Jan. 14. " II Trovatore." 
 
 First time, Walnut Street Theatre. 
 Mme. Anna LaOrange, Mile. Nantier DidiSe, 
 Sig. Brignoli, and Amodio. Their first 
 appearance here in opera. 
 "Trovatore" was first produced in London in 
 1854, with Mile. Ney, Mme. Viardot, Tamberlik, and 
 Graziani. 
 
 Jan. 16. " Norma." 
 
 LaOrange, Miss Hensler, ^g. Salviani. 
 
 Feb. 20. " Linda di Chamouni." 
 
 Miss Hensler, Mile. Didi&e, Brignoli, Mordli, 
 Rovere. 
 
 Feb. 25. '' LucREZiA Bokgia." 
 
 LaOrange, Brignoli, Amodio. 
 
 » 
 
 Feb. 27. " Lucia di Lammermoor." 
 
 LaOrange, Brignoli, Mordli, Amoldi, Gas- 
 paroni. 
 
 Feb. 28. " Don Giovanni." 
 
 LaOrange, Hensler, Didiie, MorelU, Salviani, 
 Rovere. 
 
( 86 ) 
 
 1856. Lablache as Leporello would sometimes pick 
 
 up Masetto (Giubelei, whom we have 
 often seen), and carry him off under his 
 arm. 
 
 Feb. 29. " La Favorita." 
 
 Mile. Nantier DidUe, Brignoli, MoreUi, Gas- 
 paroni. 
 
 March 5. " II Barbiere." 
 
 LaOrange, Brignoli, Morelli, Rover e. 
 
 March 6. " Semiramide." 
 
 LaOrange, Miss Phillips (her first appear- 
 ance), Arnoldi, Morelli, Qasparoni. 
 
 Madame de la Grange as a thorough artist has 
 had few superiors. Her style, vocalization and 
 phrasing were admirable. She was equally good in 
 the music of Rossini, Weber, Bellini, Mozart, Doni- 
 zetti and Verdi. Her voice was not fresh, nor could 
 it be called sympathetic. It was her consummate 
 knowledge and thorough appreciation of music as 
 an art, that enabled her to triumph over difficulties 
 and render the true expression of the author. Dur- 
 ing the present season, she sang a Hungarian mel- 
 
•( 87 ) 
 
 ody with brilliant variations, composed expressly for 
 her by Rossini, and also a valse di braw/ra composed 
 by herself. 
 
 Mile. Nantier Didi6e was a very handsome woman, 
 a low mezzo-soprano, almost a contralto. She had 
 an agreeable voice and fair execution, and was also 
 a good actress. She received instruction under Du- 
 prez at the Conservatoire at Paris. 
 
 Brignoli and Amodio made their first appearance 
 here in opera at this time. Amodio had a rich and 
 facile baritone voice of great range ; he could sing 
 up to A with ease. I have heard him sing A flat on 
 the stage. 
 
 Brignoli is still on the stage, and is too well 
 known to require any description. He is a good 
 musician and has a good voice, but he is deficient in 
 feeling and musical expression. He sings smooth 
 passages very well ; but when passion or tenderness 
 is to be expressed he is generally disappointing. 
 
 Morelli was an excellent baritone with a good 
 style, and was also a good actor. 
 
 Rovere was a buffo, one of the best we had heard; 
 but it is difficult to be fanny at all times. On one 
 occasion Lablache said of him: "He is comical as a 
 hearse." 
 
( 88 ) 
 
 1857. Feb. 25. Inauguration of the Academy of Music. 
 
 An opening address, written by R. T. 
 
 Conrad, Mayor of Philadelphia, was 
 
 spoken by Miss Caroline Richings. 
 
 "Il Teovatore." 
 
 Signore Gazzaniga and Aldini, Signori Brig- 
 
 noli and Amodio. 
 Repeated. 
 
 Feb. 28. "LucEEziA Borgia." 
 
 Gazzaniga, Brignoli, Arnoldi. 
 Repeated. 
 
 March 4. " Lucia." 
 
 Signora DePaez, Brignoli, Arnoldi. 
 The performance of this signora was so 
 abominable that Maretzek was informed 
 that she would be hissed off the stage, 
 should she again appear before the 
 audience. 
 
 March 7. " Norma." 
 
 Gazzaniga, Brignoli, Miss Richings. 
 Repeated. 
 
( 89 ) 
 
 March 13. " La Traviata." 
 
 First time. 
 
 Gazzaniga, Brignoli, Amodio. 
 Repeated four times. 
 
 March 20. " I Puritani." 
 
 Bertucca, Brignoli, Amodio. 
 
 March 21. "Linda." 
 
 Oazzaniga, Aldini, Brignoli, Amodio, Arnoldi. 
 
 March 27. " II Barbiere.'' 
 
 Miss Phillips, Brignoli, Amodio, Assoni. 
 
 April 2. " LuiSA Miller." 
 
 Naples, 1850. 
 Oazzaniga, Miss Phillips, Brignoli, Amodio. 
 
 April 4. " Lucia." 
 
 Bertucca, Brignoli, Amodio. 
 To conclude with a scene from " Col- 
 umella," by Fioravanti. 
 
 April 7. " SONNAMBULA." 
 
 Miss Caroline Richings, Brignoli, Ooletti. 
 
( 90 ) 
 
 1857. April 8. " Eenani." 
 
 Gazzaniga, A. Amoldi, T., Amodio, Bar., 
 Arnoldi, B. 
 
 April 10. Rossini's " Stabat " and miscellaneous 
 concert. 
 Oazzaniga, Miss Phillips, Brignoli, Amodio. 
 
 April 11. "Traviata." 
 
 Gazzaniga, Brignoli, Amodio. 
 
 May 20. "Ernani." 
 
 Gazzaniga, Gianoni, Amodio. 
 
 May 23. "L'Elisire d'Amore." 
 
 Gazzaniga, Brignoli, Assoni, Coletti. 
 
 May 25. " Masaniello." 
 
 Miss Richings, Brignoli, Amodio, Coletti. 
 
 June 8. "Der Freischutz." 
 
 Mmes. Johannsen, Von Berkel, Herr Pichor 
 
 neser. 
 German troupe. 
 
 June 10. "FiDELio." 
 
 By the German company., 
 
( 91 ) 
 
 Beethoven for one opera, "Fidelio," com- 
 posed four overtures. Rossini made one 
 overture serve for three operas; two 
 were serious, — "Giro in Babilonia," and 
 "Aureliano;" the third is comic, — "II 
 Barbiere." 
 June 12. " Le MAgoN," Auber. 
 
 German company. 
 June 19. ' "Martha. 
 
 MTne. Johannsen, Mme. and Herr Pickaneser. 
 
 June 20. "The Czak and the Carpenter." 
 
 German company. 
 Oct. 5. "Traviata." 
 
 Gazzaniga, Signora Tagliafico, Brignoli, 
 Amodio. 
 
 Oct. 12. "Ernani." 
 
 Gazzaniga, Bottardi, Tagliafico, Aynodio. 
 
 Oct. 14. "La Figlia del Regimento." 
 Signora Ramos, Brignoli, Tagliafico. 
 
 Oct. 19. "Ernani." 
 
 Same cast as on the 12th. 
 Oct. 21. "Lucia." 
 
 Signora Ramos, Brignoli, Amodio, 
 
( 92 ) 
 
 1858. Jan. 22. "Il Barbiere." 
 
 Mme. LaGrange, Gassier, Labocetta, Rocco, 
 Ardovani. 
 
 In the character of Rosina, both Sontag and 
 Alboni sang "Rode's Variations" in the lesson 
 scene, when in Philadelphia, as also did Grisi in 
 Europe. Bosio in London introduced the air in 
 polka time from Alary's "Tre Nozzi." Many other 
 vocalists sang "Venzano's Waltz;" some substituted 
 " II Baccio," by Arditi ; Patti in London sang the 
 bolero from "V^pres Siciliennes," or Strakosch's 
 "Waltz," and "Home, sweet home," for an encore. 
 LaGrange sang the " Hungarian Variations." 
 
 Jan. 23. "Semiramide." 
 
 Mesdames LaGrange, D'Angri, Gassier, La- 
 bocetta. 
 
 Pasta was the first great performer of the 
 part of Semiramide, and has probably 
 never been surpassed. Malibran ap- 
 peared in Arsace and Semiramide, and 
 was equally good in both. 
 
 Jan. 25. "Rigoletto." 
 
 First time here. 
 
( 93 ) 
 
 LaGrange, UAngrl, Bignardi, Taffanelli, 
 Rocco. 
 
 A clever English writer says : " One night at the 
 Royal Italian Opera, when Mario was playing the 
 part of the Duke of Mantua in 'Rigoletto,' and was 
 singing the duet with Gilda, a man dressed in black 
 and white, like everyone else, said to me gravely : 
 'I do not understand Italian. Can you tell me 
 what he is saying to her ? ' ' He is telling her that 
 he loves her,' I answered briefly. 'What is he 
 saying now?' asked this inquisitive amateur two 
 minutes afterwards. 'He is telling her that he 
 loves her,' I repeated. ' Why, he said that before ! ' 
 objected this person, who had apparently come to 
 the Opera with the view of obtaining some valuable 
 information from the performers. Bosio was the 
 Gilda; but my neighbor wondered tione the less 
 that the Duke could not say 'I love you,' in three 
 words. ' He will say it again,' I answered, ' and 
 then she will say it; and then they will say it 
 together ; indeed, they will say nothing else for the 
 next five minutes, when they will exclaim 'Addio ! ' 
 with one voice, and go on repeating it ; it will still 
 mean the same thing.'" 
 
( 94 ) 
 
 1858. Jan.. 27. "Martha." 
 
 LaGrange, Pickaneser, Formes. 
 
 Formes made his first appearance on the 
 
 stage in 1842, at the age of thirty-one 
 
 years. 
 
 Jan. 28. " Norma." 
 
 Mme. Caradori, Mme. Siedenbwg, Bignardi. 
 
 Jan. 29. "I Puritani." 
 
 Libretto by Count Pepoli. 
 LaOrange, Tiberini, Gassier, Formes. 
 
 Jan. 30. " L'Italiana in Algbri." 
 
 D'Angri, Labocetta, Oassier, Rocco, Gairoli. 
 
 Feb. 1. "Don Giovanni." 
 
 LaOrange, n Angri, Caradori, Gassier, Formes, 
 
 Labocetta. 
 Repeated. 
 
 Feb. 5. " Robert le Diable." 1881. 
 
 Mme. LaGrange, Bignardi, Formes, Labocetta. 
 
 This is Meyerbeer's first opera written in the 
 "romantic school." His friend and fellow-student, 
 
( 95 ) 
 
 Weber, may be said to stand at the head of the 
 school. Beaumarchais in his "Tarare," and Da 
 Ponte in "Don Giovanni," invented at the same 
 time the class of opera known as "romantic." 
 Many others have followed in this school, and 
 notably the distinguished Richard Wagner. 
 
 "Robert le Diable" was produced with Nourrit 
 as Robert, Levasseur as Bertram, Mile. Dorus as 
 Alice, Mme. Damoreau as the Princesse Isabelle, Mme. 
 Taglioni as the Abbess. It is a masterpiece, and is 
 seldom played to perfection, except at the Acadimie, 
 Paris. 
 
 Feb. 8. " Otello." 
 
 Mme. LaGrange, Tiberini, Labocetta, Gassier, 
 and Formes. 
 
 Feb. 9. " II Trovatore." 
 
 LaGrange, D'Angri, Bignardi, Taffanelli, and 
 Gassier as Ferrando. 
 
 Feb. 16. " Favorita." 
 
 Gazzaniga, Brignoli, Amodio, and Tagliafico. 
 
 March 20. " Sonnambula." 
 
 Miss May (her dSbut), Brignoli. 
 
( 96 ) 
 
 1858. March 27. " II Barbiere." 
 
 Miss Phillips, Brignoli, Assoni (as Mgaro), 
 Amodio, Gasparoni. 
 
 April 5. " L'Elisire." 
 
 LaGrange, Brignoli, Gassier, and Assoni. 
 
 April 7. " Lucia." 
 
 LaGrange, Brignoli, Gassier. 
 
 April 9. " Don Pasquale." 
 
 LaGrange, Brignoli, Gassier, Assoni. 
 
 April 10. "Norma." 
 
 LaGrange, Cairoli, Bottardi, Gasparoni. 
 
 April 12. " Maria di Rohan." 
 
 LaGrange, Miss Phillips, Bottardi, and Ron- 
 coni. 
 
 The performance was all excellent, but Ronconi's 
 was a masterpiece of lyrical representation. In the 
 same year that Donizetti brought out "Don Pas- 
 quale " at Paris, he produced " Maria di Rohan " at 
 Vienna. In 1853 Mme. Sontag produced the opera 
 in this city, with Badiali in the fine baritone part,; 
 
( 97 ) 
 
 which is so full of feeling. Donizetti wrote sixty- 
 three operas. In 1845 his mental derangement ap- 
 peared; he died in 1847. 
 
 April 19. " William Tell." 
 
 Mmes. LaGrange, CairoU, Bottardi, Ronconi, 
 
 Amodio, Gasparoni. 
 Repeated on the 21st. 
 
 The stupidity of the libretto of this opera made 
 it necessary to cut it down from five acts to three. 
 It is now always played in the three-act form. The 
 original cast included Nourrit, Lavasseur, Dabadie, 
 A. Dupont, Messol, and Mme. Cinti-Damoreau. 
 Taglioni danced the " Tyrolienne " to the music of 
 the unaccompanied chorus. A good critic says : 
 "Since 'William Tell' was produced, the art of 
 writing dramatic music has not advanced a step." 
 With scarcely an exception the works of Rossini's 
 Italian predecessors have been thrown into utter 
 obscurity by his superior genius. 
 
 April 26. The last acts of: 
 
 " Teaviata." 
 " Trovatoee." 
 "Maria di Rohan." 
 
( 98 ) 
 1858 And the second act of: 
 
 " PURITANI." 
 
 LaGrange, Gazzaniga, Miss Phillips, Bot- 
 tardi, Brignoli, Amodio, and Ronconi. 
 
 May 1. "Elisiee." 
 
 Benefit of Mme. Lagrange, cast as on April 
 5th. 
 
 Gazzaniga had a very sympathetic mezzo-so- 
 prano voice, — no facility ; but she possessed strong 
 dramatic feeling. Her declamation was very good 
 and made her very popular. 
 
 Mme. D'Angri was an excellent contralto, both 
 in voice and method. Her vocalization was ad- 
 mirable. 
 
 Bottardi, tenor; his voice was somewhat harsh, 
 but his style was large and very effective, and his 
 recitative was excellent. 
 
 Carl Formes, basso ; his voice was worn when 
 we first heard him at the Academy of Music. In 
 Marcel, Bertram, Leporello and Plunkett, he was 
 still very good. He was born in 1810; made his 
 dibut on the stage at Cologne as Sarastro in the 
 " Zauberflote " in 1842. His voice was said at that 
 time to be "magnificent." 
 
( 99 ) 
 
 Gassier's voice was about the compass of Badi- 
 ali's; he was of an excellent school and was a 
 good actor. Those who may remember him in the 
 character of Ferrando in the "Trovatore," cannot 
 forget what can be made of the most insignificant 
 part when sung by a good artist. 
 
 Nov. 1. "Traviata." 
 
 First appearance of Madame Colson ; Brig- 
 noli, Amodio. 
 
 In 1857 "La Traviata" was produced at the 
 Royal Italian Opera; — Mr. Gye's, — ^by Mario, Gra- 
 ziani, and Madame Bosio, "than whose Violetta 
 none more refined was ever seen on the operatic 
 stage." All of these artists have been heard in 
 Philadelphia. 
 
 Nov. 3. "Lucia." 
 
 First appearance of Mme. Cora de Wil- 
 horst; Brignoli, Amodio. 
 
 Nov. 6. "SONNAMBULA." 
 
 Cora de Wilhorst, Brignoli, Amodio. 
 
 Nov. 8. "La Figlia del Regimento." 
 Colson, Labocetta, E. Barili. 
 
( 100 ) 
 
 Nov. 10. "Teovatoee." 
 
 Mile. Parodi, Brignoli, Amalia Strakosch, 
 Amodio. 
 
 Nov. 13. "Norma." 
 
 Parodi, Sig. Scola, T. 
 
 Nov. 15. "Martha." 
 
 Oolson, Mme. Strakosch, Brignoli, Barili. 
 
 Nov. 18. "Barbiere." 
 
 Teresa Parodi, Labocetta, Amodio. 
 
 Nov. 24. "Traviata." 
 
 Gazzaniga, BrignoU, Amodio. 
 
 Nov. 26. " I PURITANI." 
 
 Cora de Wilhorst, Brignoli, Amodio. 
 
 Nov. 26. " Don Giovanni." 
 
 Gazzaniga, A. Strakosch, Golson, Labocetta, 
 Amodio, Barili. 
 
 1859. Jan. 14. "La Figlia del Eegimento." 
 
 Mile Piccolomini (her first appearance), 
 Tamaro, Formes. Conductor, Sig. Muzio. 
 
( 101 ) 
 
 Jenny Lind, Sontag and Alboni have all 
 appeared in this opera with great 
 success, the last two in Philadelphia. 
 
 Jan. 15. " La Nozze di Figaro." 
 
 Signorina Piccolomini, Mme. Ghioni, Mme. 
 Berkel, Signori Florenza, and Formes. 
 Conductor Anschutz. 
 
 We have alreadj^ said that Victor Hugo gained 
 his action for the infringement of the French dra- 
 matists' " droits d'auteur," in the case of the Italian 
 librettist of " Lucrezia Borgia " at the Italian opera 
 in Paris. It was not long since decided that trans- 
 lators or arrangers of " Le Nozze di Figaro " for the 
 Theatre Lyrique must share their receipts with the 
 heirs of the author of " Le Mariage de Figaro." 
 It is to be hoped that the heirs have been more suc- 
 cessful than they were in their claims against the 
 LTnited States. 
 
 Beaumarchais became engaged in a controversy 
 with our Government which lasted to the end of his 
 life. Silas Deane, the agent of Congress, was sent to 
 Paris in 1776 to try and obtain aid on credit from 
 the French Government, or from private individu- 
 als. M. de Vergennes, Minister of France, gave him 
 
( 102 ) 
 
 1859. a formal refusal on account of the pacific relations 
 then existing between France and England, but di- 
 rected him to Beaumarchais as a merchant who 
 might assist him on reasonable terms. With his 
 usual enthusiasm Beaumarchais entered into ar- 
 rangements, and sent supplies amounting to several 
 millions of livres. There appears to have been a 
 misunderstanding as to what was believed to be a 
 gift from the French Government and what was 
 furnished b)^ Beaumarchais at his own cost. The 
 last letter he addressed to Congress, demanding a 
 settlement of his claims for the sake of his daughter, 
 closes thus : " Americans, bestow alms on your friend, 
 whose accumulated services have received but this 
 reward. ' Date obolum, Belisario ! ' April 10th, 1795." 
 He died May 18th, 1799, aged sixty-seven years. 
 See " Beaumarchais and His Times," by Lom6nie. 
 
 Jan. 17. " Traviata." 
 
 Signorina Piccolommi, Lorini, Florenza. 
 
 Jan. 19. " Lbs Huguenots." 
 
 Mile. Poinsot, LaBorde, Tamaro, Formes, 
 
 Florenza. 
 Good chorus and orchestra, three nights. 
 
( 103 ) 
 
 Jan. 24. " Robert le Diable." 
 
 Poinsot, LaBorde, Pickaneser, Lorini, and 
 Formes. 
 
 Jan. -KS. "Don Giovanni." 
 
 Mile. Piccolomini, Mile. Poinsot, Mme. 
 Ghioni, Formes, Florenza, Lorini, Coletti. 
 An excellent performance. 
 
 Among the most celebrated Donna Annas, were 
 Ronzi de Begnis, Sontag, Grisi, Sophie Cruvelli, and 
 Titiens ; Zerlinas, Mme. Fodor, Malibran, Persian!, 
 andi^Bosio. Alboni has sung it, of course, in perfec- 
 tion, but not often. 
 
 Jan. 29. Parts of operas, to conclude with : 
 
 " La Serva Padrona," By Pergolesi. 
 Piccolomini, Johanssen, Magiorotti. 
 
 Feb. 10. " Don Pasquale." 
 
 Piccolomini, Lorini, Florenza, Magiorotti. 
 
 May 6. " Martha." 
 
 Mm^. LaBorde, Miss Phillips, Sbriglia, 
 Formes.' 
 
( 1"^ ) 
 
 1859. May 7. " Norma." 
 
 LaBorde, Berlcel, Stefmii, Former. 
 
 May 9. " Favorita." 
 
 (inzzaniga, Stefani, Florenza. 
 
 May 11. " Robert le Diable." 
 
 Gazzaniga, LaBorde, Stefani, and Formes. 
 
 June 17. " Traviata." 
 
 Piccolomini, Lrjrini. 
 
 Some Violettas cough as they sing, and die 
 coughing, while others exjjire without malving one 
 distinctive phthisical .sign; this is certainly in far 
 better taste than to entertain the audience with a 
 clinical exhibition. 
 
 Bosio's Violetta was considered one of her most 
 remarkable characters, delicate and refined. 
 
 Nov. 14. " Trovatore," and 
 
 " FiGLIA DEL ReGIMENTO." 
 
 Agnes Heron Natal i and Francesca Natali, 
 Rocco, Maccaferri. 
 
( 105 ) 
 
 The Miss Herons also gave : 
 Nov. 19. " Traviata " and " Selections." 
 
 Their parents were English. Perelli in- 
 structed them for the stage, for which 
 they showed considerable talent. 
 
 Dec. 5. " II Poliuto." 
 
 Gazzaniga, Brignoli, Amodio. 
 
 Donizetti wrote "I Martiri" for Nourrit when 
 he retired from the French stage, but the libretto 
 was objected to by the Neapolitan censorship on the 
 ground that religious subjects were not proper for 
 the opera. It is since known by the above title. 
 
 Dec. 7. " I A^ESPRI SiCILIANI." 
 
 First time. 
 
 Mme. Colson, Brignoli, Ferri, Junca. 
 
 Dec. 8. " Lucia." 
 
 SignorinaAdelina Patti, her first appearance ; 
 8ig. Stigdli, his first appearance ; Ferri. 
 
 Dec. 9. " I Vespri." 
 
 As on the 7th. 
 
( 106 ) 
 
 1859. Dec. 12. " Huguenots." 
 
 Colson, Gazzaniga, Stigelli, Junca, Amodio. 
 
 " Les Huguenots " is Meyerbeer's second grand 
 opera. It was produced at the Academic Royale, 
 January, 1836, after twenty-eight full rehearsals, 
 occasioning a delay which cost the composer a fine 
 of thirty thousand francs, which was afterwards 
 remitted. The expense of getting up the " Hugue- 
 nots " (in scenery, dresses, properties, etc.), amounted 
 to one hundred and sixty thousand francs. Nourrit 
 is said to have suggested to Meyerbeer the scene of 
 the great duet which closes the fourth act, and to 
 have given valuable hints to Donizetti for " I 
 Martiri." 
 
 Dec. 13. " RiGOLETTO." 
 
 Mesdames Colson and Strakosch; Stigelli, and 
 Ferri. 
 
 This was a most enjoyable performance. Ferri, 
 for whom the part of Rigoletto was written, was 
 great. He gave style and grace to his buffoonery, 
 was delicate and tender in his grief, and grand in 
 his fury. Madame Colson was excellent. I have 
 
( 107 ) 
 
 rarely heard duets more satisfactory than hers with 
 the baritone and tenor. 
 
 Dec. 14. " SONNAMBULA." 
 
 Adelina Patti, JBrignoli, Amodio. 
 
 Dec. 15. " Happo," Pacini. 
 
 Gazzaniga, A. Strakosch, Brignoli, Ferri. 
 
 Dec. 19. " Don Giovanni." 
 
 Adelina Patti, Gazzaniga, A. Strakosch, Brig- 
 noli, Ferri, Siisini. 
 
 Dec. 21. " Zauber-Flote." 
 
 Colson, Gazzaniga, Mine. Strakosch, Ferri, 
 Stigelli, Junca. 
 
 Dec. 23. " Don Giovanni." 
 
 Colson instead of Patti, the other characters 
 as on 19th. 
 
 Ronconi's fame as a singer and actor is too well 
 known to require any remark. His thorough 
 knowledge of the voice enabled him to conceal in 
 a great measure, the ravages which time and labor 
 had made upon it. 
 
( 108 ) 
 
 Madame Colson, a charming soprano and good 
 actress, came to us from New Orleans. 
 
 Stigelli, a robust tenor, was a German with a 
 good Italian method, he was also a good musician. 
 
 Junca was a Frenchman, a good bass, and of a 
 good school. 
 
 Mile. Poinsot had an excellent penetrating and 
 pure soprano voice, good style, and was of much 
 promise. She unfortunately died young. 
 
 Ferri, baritone, was a good artist. A tremolo 
 marred his singing, but his method was excellent. 
 
 1860. Jail- 23. " La Chatte Metamorphosee," Offenbach. 
 Mile. Darcy and Auge, MM. Dubois and 
 Oautie7\ 
 
 Jan. 23. " Giulietta et Romeo." 
 
 Miss Wissler as Romeo, her debut. Ex- 
 cellent voice. 
 
 Jan. 26. " La Paeodie de Lucia di Lammeemoor." 
 " Opera Comique," and 
 
 " TOINETTE." 
 
 By the same Company. 
 
( 109 ) 
 
 Feb. 2. " Dkaytox's Parlor Operas." 
 Concert Hall. 
 
 Feb. 16. "SOXNAMBULA." 
 
 "Troubadour." 
 " Freisc'hutz." 
 " BoHE-MiAX Girl." 
 " Barber." 
 
 "Daughter of the Regiment." 
 Miss Milnor, Annie Kemp, Bowler, T., Ayns- 
 ley Cooke. 
 
 March 5. " Lucia." 
 
 Adelina Patti. As on December 8. Lllman 
 troupe. 
 
 March^G. "Der Freischutz." 
 
 Mmes. Colson and Strakosch, Stigelli and 
 Junca. 
 
 March"_9. "I Puritani." 
 
 Adelina Patti, Stigelli, Ferri and Susini. 
 
 March 9. " II Barbiere." 
 
 Patti, Scola, Ferri, Amodio, Susini. 
 "Patti^iW sing ' Eckert's echo song,' ' Comin' 
 
( no ) 
 
 I860. thro' the rye,' and the ' Adelina Waltz,' by 
 
 Sig. Muzio. 
 Maurice Strakosch taught Adelina Patti 
 singing, and wrote those ornaments and 
 cadenzas which Rossini so aptly described 
 after hearing her sing in his "Barbiere," 
 "EUe a joliment Strakosch6 ma mu- 
 sique." 
 
 March 10. " I A^espri Siciliani." 
 
 Colson, StigelU, Ferri, Junca. 
 All good. 
 
 "StigeUi learned his part this week." (My 
 diary.) 
 
 April 2. " :\1artiia." 
 
 Patti, Strakosch, Brignoli, Junca. 
 
 April 4. "Don Pasquale." 
 
 Patti, Brignoli, Ferri, Susini. 
 Excellent. 
 
 The libretto is from Pavesi's "Ser Marcan- 
 tonio." 
 
 Sept. 19. " SONNAMBULA." 
 
 Patti, Brignoli, Barili. 
 
( 111 ) 
 
 Sept. 20. " Trovatore." 
 
 Misses Fanny and Agnes Heron (Natali), M-- 
 rani and Barili. 
 
 Sept. 21. "Il Barbiere." 
 
 Patti as on March 9. 
 
 Sept. 22. "LucREziA." 
 
 The Herons, Agnes, S., Fanfiy, C, Brignoli. 
 
 Sept. 24. "Traviata." 
 
 Patti, good ; Errani, feeble. 
 
 Sept. 25. " Norma." 
 
 Agnes and Fanny Natali, Stigelli. 
 
 Sept.^8f " Ernani." 
 
 Colson, Sbriglia, Ferri, Susini. 
 
 Oct. 10. In honor of Lord Renfrew (the Prince 
 of Wales), who made the selection. 
 " Martha." 
 Patti, Miss Natali, Brignoli and Formes. 
 
 "La Traviata." 
 First Act. 
 Mme. Colson, Errani. 
 
( 112 ) 
 
 Nov. 28. "Ernani." 
 
 Cast as on September 28. 
 
 Nov. 30. " II Baebieee." 
 
 Miss Phillips, Sbriglia, Ferri, Siisini. 
 
 Dec. 7. " II Giueamento." 
 
 Colson, Phillips, Brignoli, Ferri. 
 
 Dec. 10. " LucREziA Boegia." 
 
 Mrs. Bishop, Phillips, Brignoli, Ferri. 
 
 Dec. 14. "MosE in Egitto." 
 
 Muzio, Conductor. 
 
 Colson, Phillips, Brignoli, Ferri, Susini. 
 Mr. Constant Guillou made an Optical Rain- 
 bow for the occasion. 
 
 Dec. 29. " Dux Pasquale." 
 
 Colson, Brignoli, Ferri, Susini. 
 
 1861. April 15. " Teovatoee." 
 
 Miss Hinkley, Miss Phillips, Brignoli, Ardo- 
 vani. 
 
( 113 ) 
 
 April IG. " La Juive." 
 
 Colson, Hinkley, StigeUi, Susini. 
 
 April 17. " Linda." 
 
 First appearance of 
 Miss Kellogg; Phillips, Brignoli and Sxisini. 
 
 April IS. " Ux Ballo in Maschera." 
 First time. 
 Colson, Hinkley, Phillips, Brignoli, Ardovani. 
 
 The plot is similar to " Gustav III." The Duke 
 is assassinated at a masquerade in his own palace. 
 The Italian censorship condemned the libretto, and 
 the librettist was compelled to change the Grand 
 Duke into an English Governor of Boston. So of 
 Auber's "Gustav III." It was not deemed edifying 
 to see a king slain by his own subjects in his own 
 palace. Consequently the murder was cut out en- 
 tirely. 
 
 April 24. " Un Ballo." 
 
 Miss Kellogg, Hinkley, Brignoli, Mancusi, 
 
 Susini. 
 " Un Ballo " was produced at Rome, 1859. 
 
( 114 ) 
 
 Oct. 2.5. " Betly." Donizetti. 
 
 First time in America. 
 Miss Hinkley, Brignoli, Susini. 
 Followed by : 
 
 "Les Noces de Jeannette." 
 First time in America. 
 Miss Kellogg, Mile. Eleiia, Mancini, and De- 
 breuil. 
 It was given in French. Composed by Masse. 
 
 1862. Jan. 18. " II bL^iere." 
 
 Hinkley, Brignoli/ Wancusi, Susini. 
 
 Jan. 25. " Don Pasquale." 
 
 Hinkley, Brignoli, Susini, Mancusi. 
 
 Jan. 27. " Traviata." 
 
 Miss Kellogg, Brignoli, and Mancusi. 
 
 May 15. " II' Barbiere." 
 
 D'Angri, Brignoli, Susini, Amodio. 
 
 May 17, " Favorita." 
 
 D'Angri, Brignoli, Susini, Mancusi. 
 
 May 26. "La Figlia del Rbgimento." 
 
( 115 ) 
 
 Miss Kellogg, Brignoli, Smini; and Gotts- 
 chalk on the piano. 
 
 May 31. "Lucia." 
 
 Kellogg, Brignoli, Amodio, Susini. Last act 
 of " Favorita," Mme de Lussan. 
 
 Dec. 17. "Teaviata." 
 
 Signora Guerrabella {n&e Ward), Brignoli, 
 Amodio. 
 
 Dec. 18. "LucEEZiA Borgia." 
 
 Signora Lorini (nie Whiting), Moi-end, C, 
 Brignoli, Susini. 
 
 Dec. 19. "DiNORAH." 
 
 First time. 
 M'lle Gordier, Morensi, Brignoli, Amodio. 
 It has been said that " ' Dinorah ' is the 
 most lunatical opera ever composed. 
 The lyric drama is full of heroes and 
 heroines who at some period of the 
 opera take leave of their senses. But 
 ' Dinorah ' is the only opera in which' all 
 the characters (except the goat) are more 
 or less demented from beginning to 
 
( 116 ) 
 
 end. Corentino is a childish idiot, Hoel 
 a gloomy and superstitious fanatic, 
 while the graceful 'Dinorah' is crazy 
 with craziness which is ideal, no doubt, 
 but is real all the same." 
 
 Dec. 20. " Un Ballo in Maschera." 
 
 Guerrahella, Cordier, Morensi, Brignoli, 
 Amodio. 
 
 Few operas require a stronger cast than " II Bal- 
 lo." It contains five leading parts. That of " Os- 
 car " is thought to be one of Verdi's most brilliant 
 partitions, especially in gayety and abandon — char- 
 acteristics not usual with him. 
 
 Dec. 23. "I ^'ESPRI .Sicilian:." 
 
 Signora Lorini, Brignoli, Amodio, Susini. 
 
 Dec. 24. "Norma." 
 
 Signora Lorini, Morensi, Maccaferri, Susini. 
 
 Dec. 31. "Traviata." 
 
 M'lle Cordier, Maccaferri, Amodio. 
 
( 117 ) 
 
 1863. Jan. 13. "Martha." 
 
 German company. 
 Mdme. Rotter, Lotti, Ora'Q. 
 
 Jan. 14. " Der Freischutz." 
 
 Mdme. Johanssen, Rotter, Lotti. 
 
 Jan. 16. "Le Ma(;ox." 
 
 Mason and Locksmith. 
 Johanssen, Rotter, Lotti. 
 
 Jan. 17. "A Night IN Grenada." Kreutzcr. 
 
 Rotter, Lotti, Hartman, Scheele, Graff. 
 Quite a pretty light" opera. 
 
 Jan. 19. " FiDELio." 
 
 And three of its four overtures. 
 Same company. 
 
 Jan. 20. "Zauber Flote." 
 
 Same company. , 
 
 Jan. 21. "Der Wildschtjtz " (The Poacher). 
 
 An odd play. A gun is shot off before the 
 curtain rises. A game of billiards is 
 played on the stage, and a large school 
 
( 118 ) 
 
 1863. of boys sing in the finale of the opera. 
 
 Lortzing is the composer. 
 
 Jan. 2:!. " Je.vn de Paris." Boieldieu. 
 
 Mme. Rotter. 
 
 Very pretty music. 
 
 Jan. 24. " Daughter of the Regiment." 
 Afatinee. 
 Rotter, tSchaumberg and Comjtany. 
 
 Jan. 28. " Stradella."- Flotoiv. 
 
 First time. 
 Same company. 
 
 March 4. "Il Seraolio." 
 
 First time here. 
 Same company. 
 
 March 7. "Joseph." Mehul 
 
 German company. 
 Music simple and beautiful. 
 
 March 11. " Le Xuzze ra Figaro." 
 Same company. 
 
( 119 ) 
 
 March 14. " Postillion de Lonjumeau." 
 
 Rotter, Quint {Sig. Quinto), Graff, Kronfeld. 
 
 March 16. " Mekky Wives of Windsor." Nicolai. 
 
 A very pretty opera, very melodic, full of 
 drollery, and has a beautiful accompani- 
 ment. Libretto by Mosenthal. 
 
 The same subject was taken by Balfe for 
 an opera which he had engaged to write 
 for her Majesty's Theatre. He called it 
 " Falstaff," and the work was performed 
 by Grisi, Persiani, Ivanoff and Lablache, 
 who impersonated Falstaff. Of course, 
 with this cast it could not but succeed. 
 It has never been revived. 
 
 March 25. " Fra Diavolo." 
 
 Fran Von Berkel, Lotti, Herr Quint as Di- 
 avolo. 
 
 March 30. " Don Giovanni." 
 
 Johanssen and troupe. 
 
 April 6. " Linda." 
 
 Miss Kellogg, Brignoli, Amndio, Susini. 
 
( 120 ) 
 
 1863. April 8. " Robert le Diable." 
 
 Cordier, Signora Lorini, Brignoli, Susini, 
 Mine. Marzetti as Elen. 
 
 April 9. " SONNAMBULA." 
 
 Miss Kellogg, Brignoli. 
 
 April 10. " La Juive." 
 
 Mdme. Lorini, Cordier, Maccaferri, Lotti. 
 
 April 11. " Dinorah." 
 
 Cordier, Morensi; (she had a beautiful 
 quality of voice.) 
 
 April 13. " Don Giovanni." 
 
 Mdme Lorini, Morensi, Cordier, Brignoli, 
 Susini. 
 
 The first " Don Giovanni " who appeared in 
 London was the celebrated Ambrogetti. Among 
 others with great success were Nourrit, tenor ; La- 
 blache in 1832, before he was identified with Lepo- 
 rello, — Tamburini, baritone ; and Garcia and Mario, 
 tenors. Among the Zerlinas were Mme. Fodor, 
 Malibran, Persiani and Bosio. Don Ottavios, were 
 Rubini and Mario. 
 
( 121 ) 
 
 Nov. 2. " Maetha." 
 
 By the German company. 
 Followed bj' 
 
 "Der Freischutz." 
 " A Night ix Gkexada." 
 Habelmaun and Canissa u)id Company. 
 
 Nov. 9. "FiDELIO." 
 
 Johannsen, IFhnmer, and Oraff. 
 
 Nov. 11. "Joseph." 
 
 Frederici, Hahelmann and Company. 
 
 Nov. 13. " Stradella." 
 
 German company. 
 
 Nov. 18. " Faust. 
 
 First time in America. 
 Same company. 
 
 Nov. 20. "Il Barbiere." 
 
 Habelmann and Com^pany. 
 In German. 
 
 Nov. 23. " Die Zauberplote." 
 
 German company. 
 
( l--^2 ) 
 
 1863. Dec. 2. " Ione." Petrella, 1858 
 
 First time. 
 Signora Medori, Mazzoleni, Bellini, Sulzer, 
 
 and Biacchi. 
 Petrella composed " II Mercante di Vene- 
 
 zia " after Shakespeare's story. 
 
 Dec. 4. " NoEMA." 
 
 Mme. Medori, Sulzer, Sig. Mazzoleni, Biacchi. 
 
 Dec. 5. "Teaviata." 
 
 Signora Ortolani-Brignoli, Mazzoleni, Bellini. 
 
 Dec. 7. " LrcREZiA." 
 
 3Iedori, Sidzer, MazoUeni, Bellini. 
 Very goocl. 
 
 Dec. 8. "RiGOLETTO." 
 
 Miss Kellogg, Sulzer, Bellini, Mazzoleni. 
 
 Dec. 9. " Macbeth." 
 
 Medori, Lotti, Bellini. 
 
 Dec. 11. " Un Ballo." 
 
 Medori, Ortolani-Brignoli, Sulzer, Bellini, 
 Mazzoleni. 
 
( 123 ) 
 
 Bee. 12. "Martha." 
 
 Kellogg, Sulzer, Lotti, Biacchi. 
 
 Dec. 14. "Trovatore." 
 
 Medori, Sulzer, Mazzoleni, Bellini. 
 Very good performance. 
 
 Dec. 17. " Lucia." 
 
 Mme. Brignnli, Mazzoleni, Bellini. 
 
 Dec. 18. " Don Giovanni." 
 
 Medori, Kellogg, Lotti, Bellini, Biacchi. 
 
 Adelina Patti made her first appearance in this 
 city in opera as Lu^cia, December 8th, 1859. Her 
 excellent voice, faultless intonation and extraordi- 
 nary facility, gave promise of a brilliant future 
 which has been more than fulfilled. 
 
 Clara Louise Kellogg first appeared in Phila- 
 delphia in April 17th, 1861. Her voice is a pure 
 and vibrating soprano of great facility and perfect 
 intonation. She lias an excellent method and al- 
 ways shows an intelligent appreciation of the 
 music; she has an exeeistionally extensive reper- 
 toire. 
 
 Mazzoleni sang tenor, although his voice was 
 
( 124 ) 
 
 1863. evidently a baritone — but he became a tenore- 
 robusto l)y forcing it. He possessed strong dra- 
 matic feeling and was very effective in some operas, 
 especially where declamation was essential. 
 
 Bellini was an excellent baritone, with a good 
 voice and a large style ; he was also a good actor. 
 In the "Africaine " he was admirable. 
 
 Madame Parepa Rosa was born in 1836. Her 
 father A\as a Wallachian, her mother Avas Miss 
 Elizabeth, sister of Edward Seguin, the eminent 
 basso. .She had a clear and penetrating soprano 
 voice of two and a half octaves, and a good method, 
 and sang with much intelligence. 
 
 Sig. Pancani sang here in a few opei'as. He «as 
 a tenor of a good school, though somewhat passS 
 when Ave heard him. 
 
 Lefranc, a tenor of excellent metliod and a fine 
 actor. He was liable to an unfortunate break in 
 the upper register of liis voice. Were it not for that 
 defect, he would have held a very high position as 
 an artist. 
 
 AVachtel, with many fine qualities of voice, -was 
 very defective in its management, and frequently 
 sang out of tune. 
 
 Miss Carey has an excellent contralto voice, full, 
 
( l--^5 ) 
 
 rich and eveu, and a good itiethod. In "Aida " she 
 is grand. 
 
 Signora RIedori ■\vas a rich mezzo-soprano — very 
 dramatic in style and always satisfactory. 
 
 1864. Feb. 8. " The Merry Wives of Windsor," 
 
 By Nicolai. 
 " II Templario " is by the same author. 
 German troupe. 
 
 Feb. 10. "La Dame Blanche," Boieldien. 
 
 Produced at the Op6ra Comique, Paris, 
 1825, and playc<l at the same theatre for 
 the one thousandth time on December 
 16th, 18()2. German company, consist- 
 ing of JoJianssen, Frederici, Canissa, Habel- 
 mann, Steiiiccke and Hartman. 
 
 Feb. 12. " Tan.\ii.\user." 
 
 First time. By the same company. 
 
 Fel). 15., " .Jessoxda." Spohr. 
 
 First time. 
 
 Ver}' melodic and good accompaniment. 
 German troupe. 
 
( 12(] ) 
 
 j\Iay 9. "Notre-Dame op Pakis," By W. H. Fry. 
 
 Was produced for the benefit of the Sani- 
 tary Fair. It was -written in nineteen 
 days, and was placed on the stage in the 
 most liberal manner at Mr. Fry's ex- 
 pense. Ninety in the orchestra, and 
 hundreds on the stage. 
 
 Mtn.e. JBorchard, Mme. Kempton, C, Messrs. 
 Castle, Campbell and Seguin. Conductor, 
 Theodore Thomas. 
 
 I saw this opera but once, but was struck 
 with the beauty of tlie orchestration. 
 The vocalists were, generally, very in- 
 ferior. 
 
 It was jierformed seven times. 
 
 Nov. 8. " ROBEKT LE DiABLE. 
 
 il/me. JoJianssen and Rotter ; Habelmaiin. 
 
 Nov. 9. " Faist." 
 
 Frcrlerici, Dziuba, Tamaro, Hermanns. 
 
 Nov. 11. " La Juive." 
 
 Same troupe. 
 
( 127 ) 
 
 Nov. 16. " Huguenots." 
 
 Jolianssen, Rotter, Tamaro. 
 
 Nov. 17. " MiREiLLE," Gounod. 
 
 First time. 
 
 The first and second acts only, were given. 
 German company. 
 
 1865. Feb. 20. " Martha. 
 
 Rotter, Dzluba, Himmer, Steinecke. 
 "Martha" was followed by their usual 
 repertoire : 
 " Faust." 
 " Robert." 
 
 " La Dame Blanche." 
 "Stradella," etc. 
 To March 4th. 
 
 The singers of the German troupe when com- 
 pared with the Italian Companies appear to disad- 
 vantage for want of good musical training. In 
 comic operas they were often quite successful, being 
 usually good actors. 
 
 Mme. Johanssen had the best method, but her 
 voice was on the wane. Frederici's voice was fresher, 
 and as Margaret in "Faust" she was quite popular. 
 
( 128 ) 
 
 The German Compauies have given us many operas 
 which we had never before heard. 
 
 March 24. " La Forza del Destixo." 
 First time. 
 Signora Zucchi, Morensi, Lotti, Massamiliani, 
 
 and Bellini. 
 I was not much impressed with it. 
 
 March 25. " Fra Diavolo." 
 
 Misses Kellogg and Morensi, Sig. Bellini, 
 Lotti. 
 
 X little doggie took part and capered around 
 with as much glee and spirit as the other per- 
 formers. Dragonetti, the contra-bassist, played at 
 the Italian opera in London. His dog Carlo always 
 lay at his feet during the performance. One night 
 while Grisi was singing and Royalty was present, 
 poor Carlo fell to dreaming, and made some uncouth 
 noises just as Grisi was making her grand point in 
 the opera. The prima donna in a towering passion 
 walked to the footlights and reprimanded poor 
 Dragonetti, who burst into tears over Carlo's dis- 
 graceful conduct. Carlo was deprived of his free 
 pass, and Dragonetti, who was then ninety }'ears 
 
( 129 ) 
 
 old, had to perform his evening task for the few re- 
 maining years 6f his life without his dear com- 
 panion. 
 
 April 8. " Ernani." 
 
 Zucchi, Maccaferri; Bellini, Svsini. 
 Very good. 
 
 April 29. " La Figlia del Regimento." 
 Miss Richings and her company. 
 
 1866. Jan. 1. "Faust." 
 
 Hiss Kellogg, Antonucci, Irfre, Bellini. 
 
 Jan. 2. "L'Africaine." 
 
 First time. 
 
 Zucchi, Mme. Bosisio, Bellini, Mazzoleni, An- 
 tonucci. 
 
 A strong cast, fine opera, well performed ; 
 orchestration beautiful. 
 
 Meyerbeer received the libretto of "The Afri- 
 caine" from Scribe in 1838. He became deeply in- 
 terested in it, and in casting and recasting the work, 
 it occupied him at intervals during the rest of his 
 life. His excessive anxiety extended to the libretto^ 
 
( 130 ) 
 
 1866 and he had it modified over and over again, to the 
 great annoyance of Scribe. In October, 1863, he re- 
 turned to Paris, still working on the " Africaine," 
 which was now in rehearsal. On April 23d he was 
 taken ill and died on the 2d of May. The opera, 
 "the most mtisical of his works," was produced at 
 the Acad6mie, April 28, 1865. 
 
 The last scene, where Selika dies beneath the 
 Upas-tree, is exceedingly tender and beautiful. Her 
 despair as she gazes on the sea, " vast and illimitable 
 as her grief," on which her lover is about to sail 
 from her forever, is admirably expressed by the 
 music. There is a beautiful melody played by vio- 
 loncellos, violas and bassoons in unison, as an accom- 
 paniment, which I have never heard equalled in 
 any other opera. 
 
 Meyerbeer must have been morbidly sensitive. 
 Dr- Veron, director of the Academic at the time of 
 the first production of "Robert," says the scenery of 
 the third act was so magnificent that Meyerbeer felt 
 positively hurt, and said to the doctor, " You don't 
 think very highly of my music, or you would not 
 pay so much attention to the mise en scene." To one 
 of the other acts, the composer, thinking the scenery 
 rather poor, said, the manager doubtless thought it 
 was all the music merited. The history of the " Afri- 
 
( 131 ) 
 
 caine," which was in hand twenty-five years, and 
 which he did not live to see performed, is an addi- 
 tional evidence of his sensitiveness. 
 
 Jan. 3. "Il Poliuto." 
 
 ("I Martiei.") 
 Signora Zucchi, Massamiliani, Ardovani. 
 Zucchi was very good. 
 
 Nourrit was the first Tenor at the Acad^mie 
 Royale de Mu.sit^ue, where he had been singing with 
 a zeal and ardor equal to his genius for the last six- 
 teen years, when the management engaged Duprez 
 to divide the principal parts with the vocalist al- 
 ready in office. " One of the i\yo must succeed at 
 the expense of the other," he declared; and he was 
 not at all sure that the unfortunate one might not 
 be himself. "Duprez knows me," he said, "and 
 comes to sing where I am. I do not know him and 
 naturall}' fear his approach." After thinking over 
 it for a few days, he resolved to leave the theatre. 
 He took his farewell of the French public, April 1st, 
 1837. Nourritt was a well educated and highly ac- 
 complished man, and besides being an excellent 
 musician, possessed considerable literary talent. He 
 wrote the libretto founded on Corneille's "Poly- 
 
( 132 ) 
 
 1866. eucte," adapted to exhibit his double talent as an 
 actor and singer, and in the hands of Donizetti it 
 became "I Martiri;" but just when it Avas about 
 to be produced, the Neapolitan censorship forbade 
 its production on the ground of the unfitness of re- 
 ligious subjects for stage representation. 
 
 The history of his .suicide at Naples is well 
 known, and what is very remarkable, his brother 
 who tavight singing in Philadelphia for many years, 
 returned to Paris and drowned himself in the 
 Seine. 
 
 •Jan. 4. " Fka Diavulo." 
 
 Misses Kellogg, and Phillips, Mazzoleni, and 
 AntoniKci. Mazzoleui is unsuited to this 
 kind of music, and is deficient in smooth 
 cantabile, such as the part requires. 
 
 Jan. 5. " Erxaxi." , 
 
 Zucchi, Irfre, Bellini, Antonucci. 
 
 Jan. 8. "Martha." 
 
 Kellogg, Phillips, Irfre, Antonucci. 
 
 Jan. 9. "Teovatore." 
 
( 133 ) 
 
 Zucchi, Bine di Rossi, C, good voice, Bel- 
 lini, Mazzoleni. 
 
 Jan. 10. " La Dame Blanche." 
 
 German troupe. 
 
 Jan. 11. " I PuRiTANi." 
 
 Miss Kellogg, Irfre, Bellini, Antonucci. 
 The libretto of " Puritani " is very ,weak ; 
 the point on which the plot turns is so 
 obscure that many people fail to under- 
 stand it. It recalls what Dr. Johnson 
 said of Clarissa Harlowe, that if any one 
 tried to read it for the sake of the story, 
 he would cut his throat before he had 
 got through a dozen pages. 
 
 Jan. 12. "LucREziA." 
 
 Zucchi, Phillips, Irfre, Antonucci. 
 Zucchi was very good. Bergman, Con- 
 ductor. 
 
 Jan. 13. " Lucia." 
 
 Bosisio, Mazzoleni, Bellini. 
 
( 134 ) 
 
 1866. Feb. 26. " Faust." 
 
 German troupe. 
 
 Feb. 27. "Fra Diavolo." 
 
 Mmes. Rotter, Johanssen, Habelmann, Her- 
 manns. 
 
 Feb. 28. "Die Zaubeeflote." 
 
 Satne company. 
 
 March 1. "Martha." 
 
 Same company. 
 
 March 5. " William Tell." 
 
 Mme Naddie, Dziuba, Himmer, Habelmann, 
 Hermanns. 
 
 March 9. " Huguenots." 
 
 Mmes. Naddie, Rotter, Himmer, Hermanns. 
 
 Sept. 17. " Maritana." 
 
 E.ichings' troupe. 
 Castle, Campbell and Company. 
 
 Sep. 19. " Doctor op Alcantara." Eichberg. 
 Richings' troupe. 
 
( 135 ) 
 
 Seguin was verj^ droll as the Doctor. A 
 clever operetta, full of humor. Music 
 light and appropriate. Their usual 
 series of operas follow. 
 
 Oct. 15. " Crisping b la Comaee." Ricci. 
 
 First time. 
 Miss Kellogg, Ronconi, Testa, T., Bellini, 
 
 Antonucci. 
 The trio by Miss Kellogg, Ronconi and 
 
 Antonucci, was irresistibly comic. Tor- 
 
 riani. Conductor. 
 
 Oct. 16. "Trovatore." 
 
 Signora Poch, mezzo-soprano ; NatoM Testa, 
 Mazzoleni, Antonucci. 
 
 Oct. 17. "Fea Diavolo." 
 
 Miss Kellogg, Natali Testa and Ronconi. 
 
 Oct. 18. " SONNAMBULA." 
 
 Miss Minnie Hauk, Baragli. 
 
 Oct. 22. " L'Etoile du Nord." 
 
 First time. 
 
( 136 ) 
 
 1866. Misses Kellogg and Haulc, Baragli, Bellini, 
 
 Antonucci. 
 The laughing and crying duo ^vas well 
 sung. 
 
 Oct. 23. "LUCEEZIA." 
 
 Signora Poch, Mazzoleni, Antonucci. 
 
 Oct. 25. " L'Elisirb." 
 
 Ronconi and his daughter, her debut, An- 
 tonucci. Her voice is too weak for 
 opera. Ronconi, admirable. 
 
 Oct. 29. " Faust." 
 
 Kellogg, Mazzoleni, Bellini, Antonucci.. 
 
 Miss Kellogg performed her part beauti- 
 fully. 
 In 1864 Gounod's " Faust " was produced at the 
 Royal Italian Opera, London (Gye's) with Lucca, 
 Didi^e, Mario and Graziani. The part of Margaret 
 was a few weeks afterwards taken alternately by 
 Imcca and Patti. All these artists have appeared 
 in Philadelphia. 
 
 Oct. 31. " Huguenots." 
 
 Poch, Mazzoleni, Bellini, Antonucci. Natali 
 
( 137 .) 
 
 Testa as Urbain. Alboni sung this part in 
 Europe. 
 
 Nov. 9. "Midsummer's Night Dream." 
 
 3Ime. Naddie, M. Anthelme. A French 
 
 company. 
 Among the characters are William Shake- 
 speare, Falstaff and Queen Elizabeth. The 
 music is quite agreeable. 
 
 Dec. 7. " Z.iMPA," and " Le Maitre de Chapelle." 
 M'lles. Naddie and Laurentis ; Armand as 
 Zampa. 
 
 Dec. 8. " Les Diamaxts de la couronne." 
 
 Naddie, Armand, Laurestan, Anthelme. 
 
 1867. Feb. 4. " Martha." 
 
 Richings' troupe. 
 
 Feb. 7. " Don Pasquale." 
 
 Richings' troupe. 
 
 Feb. 11. " The Rose op Castile." Balfe. 
 
 Feb. 15. " The Enchantress." 
 
( 138 ) 
 
 1867. Several nights. 
 
 Richings' troupe. 
 
 "Bohemian Girl." 
 Richings' troupe. 
 
 March 1. " La Fiancee." Auber. 
 
 Richings' troupe. 
 
 Libretti. 
 The French drama is a mine of wealth to libret- 
 tists for the opera. Even Metastasio often poached 
 on the French authors, as in " Clemenza di Tito " 
 from the "Cinna " of Corneille and his " Gioas " 
 from " Athalie " of Racine. Dr. Hueffer says the 
 eminent libretti have nearly all been taken from 
 the French. Even Balfe's " Bohemian Girl " is 
 translated from the French of M. de St. Georges, 
 called " La Boh&nienne," " The Enchantress " by 
 Balfe, composed for Mdme. Thillon was due to the 
 same author. He awards well deserved praise to 
 Romani, but Romani's two most famous works, 
 " Sonnambula " and " Norma " are both from the 
 French. "La Gazza Ladra," "Fidelio" and "Fa- 
 vorita " are all derived from French plays. Scribe's 
 "Le Philtre" and "Sonnambule" are the originals 
 
( 139 ) 
 
 of " Elisire d'Amore " and " Sonnambula." " Rigo- 
 letto " is founded on " Le Roi S'Amuse." " Lucre- 
 zia " on " Lucrfice Borgia," " Ernani," on Victor 
 Hugo's " Hernani." 
 
 Romani is the best of the Italian librettists of this 
 century. " II Pirata," " Sonnambula," " Norma" and 
 " Capuletti ed i Montecchi," are all excellent. 
 French librettists frequently worked in partnership, 
 as in the " Favorite " by Scribe and Royer ; and 
 " Hamlet " by M.M. Barbier, and Carr6. Balfe's 
 " Satanella," " Rose of Castile," " Maid of Honor," 
 " Bondsman " and Wallace's " Maritana " are all 
 founded on French pieces. 
 
 Aprils. "Teovatoee." 
 
 First appearance of Madame Parepa, Mme. 
 Strahosch, Brignoli, Sig. Fortuna. 
 
 April 9. "Norma." 
 
 Parepa, Strakosch, Limberti, T., Susini. 
 
 April 10. " II Baebiere." 
 
 Parepa, Brignoli, Ferranti, Susini. 
 
 April 11. "Don Giovanni." 
 
( 140 ) 
 
 1867. Parepa, Fortuna as the Don, Brignoli, Su- 
 
 sini. 
 
 April 12. " Lucia." 
 
 Parepa, good in the crazy scene ; Brignoli. 
 
 April 29. Richings' troupe open. Xothing new. 
 
 May 24. "Meery Wives of Windsor." 
 Chestnut Street Theatre. 
 German troupe. 
 
 May 30. "Masaniello." 
 
 Rotter, Himmer and Company. 
 
 June 3. " Fra Diavolo ; " in English. 
 
 Habelmann broke his arm in the last 
 scene, falling from the rocks. 
 
 Oct. 28. Richings' troupe open with : 
 "The Bohemian Girl." 
 " Cinderella." 
 
 Nov. 20. "Lily of Killarny." Benedict. 
 
 First time. 
 
( 141 ) 
 
 Elaborate instrumentation, some pretty 
 melodies. 
 
 Benedict was born in Germany, studied in Italy, 
 arrived in London, 1838. Came to this country 
 with Jenny Lind. 
 
 Nov. 29. " Faust." 
 
 First time in English. 
 
 Miss Richings' Benefit. She sang it much 
 better than I expected. It is said that 
 Miss Richings was married yesterday, 
 and that Mr. Bernardo is the fortunate 
 bridegroom. 
 
 Dec. 16. " Trovatore." 
 
 Mme. LaGrange, Miss Phillips, Brignoli, Ran- 
 dolphi. 
 
 Dec. 17. " Norma." 
 
 LaGrange, Miss McOulloch, Massamiliani, 
 Susini. 
 
 Signora Zucchi, a mezzo-soprano, with a good 
 voice and good method. She is very dramatic and 
 effective in opera. The greatest dramatic vocalists 
 
( 142 ) 
 
 have most frequently been mezzo-sopranos, from 
 Malibran to the present day. 
 
 Antonucci was a good basso, intelligent and sat- 
 isfactory. 
 
 Signora Poch sang at the Academy of Music in 
 1866. She was a mezzo-soprano, very dramatic, and 
 a good artist. 
 
 Miss Minnie Hauk made her first appearance 
 here in 1866. She has much talent and gives 
 promise of making a good singer. 
 
 Dec. 18. " Favorita." 
 
 J/ts-s PhilKps, Brignoli, and Orlandini. 
 
 The latter has a good idea of singing, but his 
 voice lacks volume. Brignoli was greeted with a 
 hiss for keeping the audience waiting a long time. 
 We afterwards learned that he had lost his "tights," 
 and was apparently too modest to ask the forbear- 
 ance of the audience on that ground. 
 
 Dec. 19. " Don Giovanxi." 
 
 LaGrange, McCulloch, Phillips {Zerlina), Brig- 
 noli, Orlandini, Susini. 
 
 Performance was quite fair, except the 
 chorus, which was wretched. 
 
( 143 ) 
 
 Dec. 20. " Ernani." 
 
 LaQrange, Massamiliani, Susini, Orlandini. 
 
 Dec. 21. " Martha." 
 
 Mme. LaQrange, Miss Phillips, Brignoli, Or- 
 landini. 
 Brignoli took his B b- but very sotto-voce. 
 
 1868. Jan. 6. " Trovatore." 
 
 Parepa, N. Testa, Pancani, Bellini. 
 Pancani's upper notes are good and ef- 
 fective ; style is large, and he sings with 
 feeling. 
 
 Jan. 7. "Don Giovanni." 
 
 Mme. Parepa, Miss Ronconi, Miss Hauk, 
 Baragli, Bellini, and Ronconi. 
 
 Jan. 8. " Favorita." 
 
 Gazzaniga, Baragli, and Bellini. 
 
 " II Barbiere." 
 Parepa, Baragli, Antonucci, Ronconi. 
 A good performance — Ronconi, admirable. 
 
 It seems almost incredible that Rossini's "Barber 
 
( 144 ) 
 
 1868. of Seville," which has been the delight of the musical 
 world for more than two-thirds of a century, should 
 have been hissed, hooted at, and shouted down at 
 its first representation. And this, too, at Rome!' 
 Different accounts have been published, but the 
 most trustworth)' is said to be that of Mme. Giorgi 
 Righetti, the Rosina of the evening, and for whom 
 the part was composed. I transcribe the account as 
 given by Edwards in his life of Rossini. 
 
 Garcia, the celebrated Tenor, \vas the Almaviva. 
 The Figaro was Luigi Zamboni, wlio, after distin- 
 guishing himself on all the operatic stages in Europe, 
 became, like Garcia, a singing master, and taught 
 other Figaros, besides Almavivas and Rosinas, how to 
 sing Rossini's music. 
 
 The original Don Basilio was Vitarelli ; Bartolo, 
 Botticelli. 
 
 The Overture was executed in the midst of a gen- 
 eral murmuring, "such," remarks Zanolini, "as is 
 heard on the approach of a procession." The ap- 
 pearance of Garcia did not change the disposition of 
 the public. 
 
 "The composer," says Madame Giorgi Righetti, 
 was weak enough to allow Garcia to sing beneath 
 Rosina's balcony a Spanish melody of his own ar- 
 rangement. Garcia maintained, that, as the scene 
 
( 145 ) 
 
 was in Spain, the Spanish melody would give the 
 drama an appropriate local color; but unfortunately 
 the artist who reasoned so well, and who was such 
 an excellent singer, forgot to tune his guitar before 
 apj)earing on the stage as Almaviva. He began the 
 operation in the presence of the public; a string 
 broke ; the vocalist proceeded to replace it, but be- 
 fore he could do so, laughter and hisses were heard 
 from all parts of the house. The Spanish air, when 
 Garcia was at last ready to sing it, did not please 
 the Italian audience, and the pit listened to it just 
 enough to be able to give an ironical imitation of it 
 afterwards. 
 
 The audience could not hiss the introduction of 
 Figaro's air: but when Zamboni entered, with an- 
 other guitar in his hand, a loud laugh was set up, 
 and not a phrase of "Largo al fattotum" was heard. 
 M''hen Rosina made her appearance in the balcony 
 the public were quite prepared to applaud Mme. 
 Giorgi Righetti in an air which they thought they 
 had a right to expect from her; but only hearing 
 her utter a phrase which led to nothing, the expres- 
 sions of disapprobation recommenced. The duet be- 
 tween Almaviva and Figaro was accompanied through- 
 out with hissing and shouting. The fate of the work 
 seemed now decided. At length Rosina reappeared. 
 
> ( 146 ) 
 
 1868. and sang the Cavatina which had so long been de- 
 sired; for Madame Giorgi Righetti was young, had 
 a fresh, beautiful voice, and was a great favorite with 
 the Roman public. Three long rounds of applause 
 followed the conclusion of her air, and gave some 
 hope that the opera might be saved. Rossini, who 
 was at the orchestral piano, bowed to the public, 
 then turned to the singer, and whispered, "0, 
 natura." 
 
 The entry of Don Basilio, now so effective, was 
 worse than a failure the first night. ^'^itorelli's 
 make-up was admirable; but a small trap had been 
 left open on the stage, at which he stumbled and 
 fell. The singer bruised his face terribly, and began 
 his admirably dramatic air with his handke:fchief 
 to his nose. This itself must have sufficed to spoil 
 the effect of the music. 
 
 The letter-duet miscarried partly, through the 
 introduction of some unnecessary incidents after- 
 wards omitted ; but the audience were resolved to 
 ridicule the work, and as often happens in such 
 cases, various things occurred to favor their pre-de- 
 termination. 
 
 At the beginning of the magnificent finale a cat 
 appeared on the stage, and with the usual effect. 
 Figaro drove it one way, Bartolo another, and in 
 
( 1-17 ) 
 
 avoiding Basilio it encountered the skirt of Rosina 
 — behaved, in short, as a cat will be sure to behave 
 mixed up in the actions of a grand operatic finale. 
 The public were only too glad to have an opportu- 
 nity of amusing themselves apart from the comedy; 
 and the opening of the finale was not listened to at 
 all. 
 
 The noise went on increasing until the curtain 
 fell. Then Rossini turned to the public, shrugged 
 his shoulders, and began to applaud. The audience 
 were deeply offended by this openly-expressed con- 
 tempt for their opinion, but they made no reply at 
 the time. The vengeance was reserved for the second 
 act, of which not a note passed the orchestra. The 
 hubbub was so great, that nothing like it was ever 
 heard in any theatre. Rossini in the meanwhile 
 remained perfectly calm, and afterwards went home 
 as composed as if the work, received in so insulting 
 a manner, had been the production of some other 
 musician. After changing their clothes, Madame 
 Giorgi Righetti, Garcia, Zamboni and Botticelli 
 went to his house to console him in his misfortune. 
 They found him fast asleep. 
 
 The next day he wrote the delightful Cavatina 
 " Ecco ridente il Cielo," to replace Garcia's unfortu- 
 nate Spanish air. The melody was borrowed from 
 
( HS ) 
 
 1868. the opening chorus of "Aurehano in Palmira," 
 written by Rossini in 1814, for Milan, and produced 
 without success. Garcia read the Cavatina, and sang 
 it the same evening. 
 
 At the second performance the Romans seemed 
 
 disposed to listen to the work of which they had 
 
 really heard nothing the night before. This was all 
 
 . that was needed to insure the opera's triumphant 
 
 success. 
 
 Jan. 10. "Carnival of Venice." Petrella. 
 
 First time. 
 
 Misses Hauk and Ronconi, Mme. Testa, Ber- 
 agli, Bellini, Ronconi, Baccelli. 
 The plot is comic, full of bustle, — music gay, — 
 accompaniments rather noisy. Ronconi excellent. 
 
 Jan. 11. " Crisping." 
 
 Matinee. 
 
 Miss Hauk, Sig. Ronconi, Bacelli and Anton- 
 ucci. 
 Evening. " Stabat Mater" and miscellaneous 
 concert. 
 
 Jan. 13. "Romeo and Juliet." Gounod. 
 
 First time. 
 
( 149 ) 
 Miss Hauk, Pancani, Bellini, Antonucci. 
 
 " Romeo and Juliet " has, during the present 
 century, been set to music by no less than five com- 
 posers: among the Italians, by Zingarelli, Bellini 
 and Vaccai; among the French, by Gounod, and 
 the Marquis d'lvry. 
 
 Gounod's " Romeo and Juliet " was played for 
 the first time in London in 1867, with Mario and 
 Patti as the two lovers. 
 
 Jan. 14. " LucREZiA." 
 
 Oazzdniga, Testa, Baragli, Antonucci. 
 
 Jan. 15. "Linda." 
 
 Miss Hauk, Naiali Testa, Baragli, Antonucci 
 and Ronconi. One of his great serious 
 parts. 
 
 Jan. 16. " Traviata." 
 
 Gazzaniga, Pancani, Bellini. 
 
 Jan. 17. " Tkovatore." 
 
 Madame Kapp Young, Baragli, Bellini. 
 
 Jan. 18. " Faust." 
 
( 150 ) 
 
 1868. Miss Hauk, Habelmann, Hermanns. 
 
 Sung in German. 
 
 Feb. 11. " The Geande Duchesse." 
 First time here. 
 
 M'Ue TosUe, Guffroi, LeDuc, Lagriffoul, Du- 
 chesne. Written for the Exposition of 
 Paris, 1867. It was played ten nights iby 
 Bateman's Opera Bouffe. 
 
 Tost4e had more genius for " Bouffe," than any 
 of her successors. In voice and personal appear- 
 ance, she showed the effect of time and iwear, but 
 she was full of fun and had a certain comical 
 audacity that was very droll. She sang quite well, 
 and it was said that she had studied at the Con- 
 servatoire at Paris. Le Due, Lagriffoul and Du- 
 chesne were excellent actors. 
 
 March 2. " Teaviata." 
 
 La Grange, Brignoli, Orlandini. 
 Strakosch's season. 
 
 March 3. " Rigoletto." 
 
 LaGrange, Miss Phillips, Massamiliani, Or- 
 landini. 
 
( 151 ) 
 
 March 4. "Roberto il Diavolo." 
 
 LaGrange, McOulloch, Brignoli, Lorini, Her- 
 Tnanns (in German), Rita Sangalli as 
 Elena. 
 
 " Robert " was written for the Op6ra Comique at 
 the Ventadour Theatre. The company of the 
 ThS^tre de I'OpSra Comique was not found to be 
 competent to execute the difficult music, and the 
 libretto by MM. Scribe and Delavigne, was altered, 
 so as to suit the " Acad^mie." It was cut down and 
 the dialogue was adapted for recitative. The 
 character of " Raimbaud " was cut out in the fourth 
 and fifth acts. It may be well to refer to the French 
 classification of opera. 
 
 The "Op6ra Comique" is a French opera in 
 which the denouement is happy and the dialogue 
 spoken. Provided these two conditions be present, 
 it is not necessary that the piece should introduce 
 any comic scenes or characters. 
 
 The French " Grand Op§ra " is sung throughout 
 with accompaniment of the full orchestra, to the 
 entire exclusion of spoken dialogue. One of the 
 finest examples is " Guillaume Tell." The French 
 version of "Sonnambula" in which most of the 
 Recitative is omitted, is entitled " Op6ra Comique." 
 
( 152 ) 
 
 1868. March 5. " Un Ballo in Maschbra." 
 
 LaOrange, McOulloch, Phillips, Brignoli,] Or- 
 landini. 
 
 March 17. " Norma." 
 
 Mmes. Parepa, Testa, Pancani, Antonucd. 
 
 March 18. " Fra Diavolo. 
 
 Parepa, Testa, Habelmann, Ronconi. 
 
 March 20. " Ernani." 
 
 Mrs. Agatha States, Pancani, Bellini, An- 
 
 tonucci. 
 Mrs. States has a strong soprano voice, no 
 
 low notes, and is deficient in method. 
 
 April 20. "Martha." 
 
 Richings' troupe. Followed by the usual 
 series of performances. 
 
 May 12. " Grand Duchesse." 
 
 Tostie and Company. 
 Three nights. 
 
 May 14. " La Belle Helene." 
 
 First time. 
 
( 153 ) 
 Same company. Five nights. 
 
 Nov. 9. " Baebe-Bleue.". 
 
 First time. 
 
 Mile. Irma, M. Aujac, T., good. 
 
 Irma's voice is full and agreeable in quality. 
 The passage from the throat is too ap- 
 parent. 
 
 Nov. 30. " Trovatore." 
 
 Mrs. States, Cellini, Brignoli, Orlandini. 
 
 Dec. 1. " Fidelio." 
 
 Rotter, Cellini, Hahelmann, Hermanns. 
 
 Dec. 2. " I A^ESPRI SiCILIANI." 
 
 Mrs. States, Brignoli, Antonucci, Orlandini. 
 
 Dec. 3. " Roberto il Diavolo." {Polyglot) 
 
 LaOrange, (Italian and German), Brignoli, 
 (Italian). Miss McCulloch, (Italian), Her- 
 manns and Habelmann, (Germ.an). 
 
 Dec. 4. "Teaviata." 
 
 Mme. LaOrange, (admirable), Boetti, Orlan- 
 dini. 
 
( 154 ) 
 
 Dec. 10. " Un Ballo." 
 
 States, McOulloch, Cellini, Boetti, Orlandini. 
 
 Dec. 12. "Dee Freischutz." 
 
 LaGrange, Rotter, Habelmann, Formes. 
 
 1869. March 1. " La Perichole." 
 
 First time. 
 Irma, Aujac, Leduc. 
 
 March 2. " Orphee aux Expers." 
 
 Tostie, Deere, Duchesne, (Jupiter as a fly.) 
 
 March 3. " Barbe-Bleue. 
 
 Irma, Aujac, Lagriffoul. 
 
 March 5. " Les Bavards," and 
 
 "Chanson de Fortunio." 
 Irma, Leduc and Company. 
 
 March 6. "Monsieur Choufleuri." 
 Tostie, Leduc and Company. 
 
 March 31. " Belisario." 
 
 Mrs. States, McOulloch, Boetti, Orlandini. 
 A feeble performance. 
 
( 155 ) 
 
 April 2. " Le Prophete." 
 
 First time. 
 
 LaCfrange, Boetti, Antonucci, Formes. 
 Mise en sc6ne, very good. LaGrange was 
 excellent. Antonucci also. 
 
 " Le Prophete," Meyerbeer's third grand opera, 
 was produced at the Academic, April 16th, 1849, 
 with Roger, Viardot, Garcia and Castellan, in the 
 principal characters. It was played here three 
 times, and at every performance I liked it more. 
 The orchestral accompaniments are charming. 
 
 April 14. " Genevieve de Brabant." 
 
 Mile. Rose Bell, Desclaitzas, Carnier and 
 
 Company. 
 The women act very well. 
 
 April 16. " L'CEiL Creve," By Hervk 
 
 Rose Bell, Desdauzas, Deligne. 
 Some very pretty choruses and airs. 
 
 "Fleur de The," Lecocq. 
 
 Acted with great spirit. 
 Same company. 
 
 April 19. " La Vie Parisienne." 
 
( 156 ) 
 
 1869. Very well performed. Carrier displayed 
 
 much comic ability. Appears to be a 
 faithful picture of some phases of Pa- 
 risian life. 
 
 April 23. " Gkande Duchesse." 
 
 Not equal to the Tost6e troupe. 
 
 May 6. " Crisping." 
 
 Richings' troupe. 
 
 May 21. " Teaviata." 
 
 Benefit of Mme. Eichings-Bernard. Sang 
 better than I ever before heard her. 
 
 June 3. " II Bakbieee." 
 
 Miss Kellogg, Boetti, Reyna, Sitsini, Barili. 
 
 I remember to have seen in my early opera ex- 
 perience, a scene in the " Barber," where two 
 servants appear, one sneezes and the other yawns. 
 This was interpolated from Paisiello's " Barber." 
 Rossini's libretto does not include this scene, which 
 appears in the " Comedy of Beaumarchais." 
 
 Sept. 6. The Richings New Troupe. It includes 
 
( 157 ) 
 
 Henry Drayton, baritone, of this city, who studied 
 at the Conservatoire, Paris. He is quite clever, but 
 his voice has not sufficient strength for much suc- 
 cess in opera. 
 
 Parepa Rosa's Grand English Opera Company. 
 
 Oct. 4. " Makitana." 
 
 Par&pa, Seguins, Castle, Laurence, Bar., 
 Campbell. Conductor, Carl Rosa. 
 
 Oct 5. " SONNAMBULA." 
 
 Rose Hers6e, voice weak, but she has feel- 
 ing and taste. 
 
 Oct. 6. " The Puritan's Daughter," Balfe. 
 
 Quite well performed, strong in the minor 
 parts. 
 
 Oct. 7. " Bohemian Girl." 
 
 Rose Hersie. 
 
 Oct. 13. " Le Domino Noir." 
 
 Hersie, Seguins, Castle, Lawrence. 
 Quite agreeable. 
 
( 158 ) 
 
 Nov. 15. " Freischutz." 
 
 Grau's German Company. They gave 
 
 Nov. 20. "Faust." 
 
 Mme. Frederici, Himmer, Weinlich. 
 
 Nov. 23. " La Juive." 
 
 Frederici, Himmer and two horses; the 
 brown, was obstreperous — two men held 
 him lest he should interfere with the or- 
 chestra. This company also performed 
 " Zauberflote," 
 " Stradella," etc. 
 
 1870. Jan. 3. " II Trovatore." 
 
 Madame Briol, M. Lefranc, Reyna. Madame 
 Briol has strong dramatic feeling; her 
 voice wants resonance and she sings with 
 effort. Lefranc has a large style, his re- 
 citative is excellent and he sings with 
 ardor. His Cin alt aroused the audience 
 to enthusiasm. He is also an actor of 
 intelligence and dignity. 
 
 Jan. 5. " Crisping." 
 
 Mm,e. Lami, Ronconi, Reyna. 
 
( 159, ) 
 
 " William Tell." 
 Canissa, Lami, Lefranc, Reyna, Coletti. 
 Lefranc was great and sang his role with- 
 out transposition. He sang the trio with 
 much passion and the solo in the last act 
 was admirable. 
 " Guillaume Tell " is Rossini's last opera. 
 " To surpass that admirable work would have 
 been difficult for its own composer, impossible for 
 any one else ; and Rossini appears to have resolved 
 to terminate his artistic career when it had reached 
 its climax." 
 
 Jan. 6. "LucREZiA." 
 
 Mme. Briol, Lotti, Mme. Lumley, Ronconi. 
 
 Jan. 7. " Un Ballo.'' 
 
 Briol, Lami, Lefranc, Reyna. 
 
 Jan. 11. "PoLiUTO." (IMartiri.) 
 
 Miss Kellogg, Lefranc, Reyna. 
 Excellent performance. 
 
 Jan. 12. " Norma." 
 
 Briol, Canissa, Massamiliani. 
 
( 160 ) 
 
 1870. Jan. 13. "Pipele." 
 
 Kellogg, Ronconi, Reyna, Lami, Massamil- 
 
 iani, and Barili. 
 Ensemble and orchestra good. 
 
 Jan. 15. " Linda." 
 
 Matinee. 
 Kellogg, Ronconi, Lotti. 
 
 Jan. 17. " Masaniello." 
 
 Canissa, Lefranc and Reyna. 
 
 The duo between Masaniello and Pietro, 
 
 (Reyna), was grand. Lefranc' s acting was 
 
 worthy of his singing. 
 Parepa Rosa's troupe. Rose Hersie, the 
 
 Seguins, Campbell, Nordblom, Laurence, 
 
 Hall. 
 
 Feb. 14. " Faust." 
 
 " Teovatore." 
 "Marriage of Figaro." 
 " Freischutz." 
 " Martha." 
 " Oberon." 
 
 March 21. "Lxjcia." 
 
( 161 ) 
 
 Strakosch troupe. 
 
 Miss McCkilloch, BrignoU. 
 
 March 22. "Trovatore." 
 
 Gazzaniga as the gypsy, Brignoli. 
 " Barbiere." 
 "Don Pasquale." 
 
 May 2. "Magic Flute." 
 
 Miss CarloUa Patti. 
 
 June 6. " Postillion." 
 
 Richings' companv. 
 
 " Huguenots." 
 " Traviata." 
 
 " LURLINE." 
 Nov. 16. " DiNORAH." 
 
 First time in English. 
 Richings' troupe. 
 
 Nov. 19. " Oberon." 
 
 Richings' troupe. 
 
 Nov. 21. " Rip Van Winkle." By Bristow. 
 
 Drayton as Rip. 
 
( 162 ) 
 
 Acted and sang well. 
 Richings' troupe. 
 
 1871. Jan. 9. "Fidelio." 
 
 Mme. Lichtmay, Carl Bernard, Formes, 
 Vierling. 
 
 Jan. 13. " Tannhauser." 
 
 Lichtmay, Haffner, Formes, Franosch. 
 
 Jan. 14. " Martha." 
 
 Mmes. Lichtmay and Perl, Formes. 
 
 Feb. 6. Richings' troupe give four nights and one 
 matinge. 
 
 March 3. " La Juive." 
 
 Lichtmay, Perl, Formes. 
 
 March 6. " William Tell." 
 
 Same vocalists. 
 
 Oct. 23. Parepa-Rosa Grand English Opera. 
 
 "FiGLIA DEL ReGIMENTO." 
 
 Parepa Rosa, Tom Karl. 
 
( 163 ) 
 
 Oct. 26. "LucKBZiA." 
 
 Parepa, Z. Seguin, Karl, Cook 
 
 Oct. 28. " Satanella." Balfe. 
 
 First time. 
 Mme. Vanzini, Miss Schofield, Castle, Seguin, 
 
 Campbell and Co. 
 Music commonplace. 
 
 Balfe was a much better musician than he has 
 been generally credited with in America. He was in- 
 troduced to Rossini in 1828, in Paris, and sang the 
 part of "Figaro " under his direction on the condi- 
 tion that he should take a course of lessons in sing- 
 ing from Bordogni. He wrote nearly 30 operas. 
 The "Maid of Artois" he composed for Malibran. 
 He wrote " Falstaff," which was sung by Grisi, 
 Persiani, Ivanoff and Lablache — a grand quartet. 
 
 Dec. 29. " Teovatoee." 
 
 I/ichtmay, WacJitel, Vierling. 
 
 Dec. 30. "Postillion." 
 
 Waehtel and Company. 
 
( 164 ) 
 
 1872. Jan. 2. "Huguenots." 
 
 Lichtmay, Wachtel, Hermanns, Vierling, 
 Franosch. 
 
 Feb. 19. " Un Ballo in Mascheka." 
 In English. 
 Mmes. Parepa-Rosa, Van Zant and Company. 
 
 Feb. 20. " Zampa." 
 
 Charles Santley, Clara Doria, (daughter of 
 Barnett, the composer,) Jennie Van Zant, 
 Mrs. Seguin. 
 
 Feb. 22. " Fra Diavolo." 
 
 Santley and above company. 
 
 Feb. 28. " Faust." 
 
 Mrs. Van Zant, (nie Blitz). 
 
 March 20. " Les deux Journees." 1800. 
 
 ("Der Wassertrager,") Cherubini. 
 ("The Water Carrier,") 
 Parepa's company. Lovely opera. 
 
 April 15. " Lucia." 
 
( 165 ) 
 
 Mile. Nilsson, her first appearance ; Barre, 
 Brignoli. • 
 
 April 17. " Faust." 
 
 Nilsson, Gary, Capoul, Barre, Jamet. 
 
 April 18. " MiGNON. 
 
 First time. 
 
 Mile. Nilsson, Capoul, Jamet, Canissa. Mile. 
 Feretti, as Federico. 
 
 April 19. " Fka Diavolo." 
 
 Canissa, Cary, Capoul. 
 
 April 20. " Tkovatore." 
 
 Nilsson, Miss Gary, Barre, Brignoli. 
 Performance good, except the chorus and 
 orchestra. 
 
 "Hamlet," Ambroise Thomas. 
 First time. 
 
 Miss Nilsson, Cary, Brignoli, Barre, Jamet. 
 Nilsson played it beautifully and Barre 
 sang well. 
 
 Shakespeakian Operas. 
 " Julius Csesar " and " Hamlet " were turned into 
 
( 166 ) 
 
 1872. Ij'rical di'amas more than a century and a half ago. 
 " Giulio Csesare " and " Ambleto " were performed 
 at the King's Theatre under Handel's management. 
 The part of the world's conqueror was given to the 
 sopranist, Sig. Mcolini. Eossini set " Otello " to a 
 libretto by the Marquis Berio, an amateur poet. 
 "La Tempesta" was composed by Hal6vy. Jenny 
 Lind sang in it and Lablache played Caliban. 
 " Romeo and Juliet " has been set to music by five 
 different composers during the present century. 
 " Macbeth " by Ch&lard was produced at the Aca- 
 d6mie, Paris, in 1827. Verdi's " Macbeth " has been 
 performed in the Academy of Music in this city. I 
 saw it in New York in 1850 with Badiali in the title 
 role. "Mercante di Venezia" is by Petrella. A 
 French opera, called " Midsummer Night's Dream," 
 was performed in our Academy of Music. " The 
 Merry Wives of Windsor," is by Nicolai ; "Hamlet" 
 by Ambroise Thomas, "Falstaff" by Balfe. It was 
 said more than twenty years ago, that Verdi had 
 completed his opera of " Lear " — and he is said to 
 be at work in connection with Boito, upon a new 
 opera on the .subject of "Othello." It will be called 
 "lago." 
 
( 167 ) 
 
 Rewards op Musical Authors. 
 
 In Italy Rossini received from twenty to one 
 hundred pounds for writing an opera. He received 
 nothing for the right of engraving his works. " In 
 France alone if ' II Barbiere ' had been originally 
 brought out there, Rossini's profits must have 
 amounted to one million francs ; as it was, it never 
 brought him a farthing beyond eighty pounds sterl- 
 ing." — Edward's Life of Rossini. 
 
 "Alexander II. gives Verdi an honorarium of 
 eighty thousand rubles for the opera he is now. 
 writing for St. Petersburg; the work, of course, 
 remains Sig. Verdi's property. 1862." 
 
 Rossini went to Paris in 1824. There was much 
 jealousy in regard to him among some musicians. 
 But Boieldieu, Herold and Auber were his fervent 
 admirers. He was appointed director of the Italian 
 Theatre with a salary of twenty thousand francs. 
 Auber says he had a beautiful baritone voice, and 
 his accompaniments on the piano were marvelous 
 — more like an orchestra than the piano. He 
 brought out Meyerbeer's music, and induced him 
 to come to Paris. He also brought Bellini, Doni- 
 zetti and Mercadante to France. His kindness to 
 Bellini was tender and lovely. He also befriended 
 Balfe and gave him his Figaro to sing in Paris. 
 
( 168 ) 
 
 1872. Mr. Ebers in his " Seven Years of the King's 
 Theatre" gives a good insight into the opera in 
 England at that time, 1821 to 1827. The outgoing 
 manager like all his predecessors, had failed. Mr. 
 Ebers undertook to re-open it in» 1821. During his 
 first "successful season" he lost seven thousand 
 pounds, and the proprietor, by way of encourage- 
 ment, raised his rent from three thousand one hun- 
 dred and eighty to ten thousand pounds. His 
 smallest loss in any one year was three thousand 
 pounds. In England, theatres do not receive sub- 
 ventions from the government; but in support of 
 opera, enterprising persons have always been found 
 willing to lose from time to time a little fortune. 
 
 In 1814, Rubini was engaged at Pavia as tenor, 
 at thirty-six shillings a month. Sixteen years after- 
 wards, Rubini and wife were offered an engagement 
 for six thousand pounds, and at last the services of 
 Rubini alone were retained at the Italian Opera of 
 St. Petersburg at the rate of twenty thousand 
 pounds a year. 
 
 May 6. "La Perichole." 
 
 Aim6e troupe. 
 
 "Grande Duchesse." 
 
( 1G9 ) 
 
 May 8. "Les Brigands." 
 
 First time here. 
 
 " Baebe-Bleue." 
 
 Nov. 13. "Genevieve de Brabant." 
 Aim6e, Juteau, Gabel. 
 
 Nov. 14. "Le Petit Faust," HervS. 
 
 Aimie, Bonelli, Juteau. 
 
 Mme. Aim6e, in personal appearance and 
 voice is more fresh than Tost4e — she is 
 graceful and exceedingly comic, though 
 not so original as her predecessor. 
 
 Dec. 16. " Faust." 
 
 Signora Lucca, Santz, Vizzani, Jamet. 
 
 Dec. 17. "Trovatore." 
 
 Kellogg, Santz, Abrugnedo, T., Morimni, Bar. 
 
 Dec. 18. "Huguenots." 
 
 Pauline Lucca, Levielli, Sparapani, Jamet. 
 Lucca and Jamet very good. 
 
 Dec. 20. "Fra Diavolo." 
 
 Lucca, Santz, Ronconi, Vizzani. 
 
( 170 ) 
 
 Dec. 23. " LucREziA." 
 
 Mme. Levielli, Santz, Abrugnedo, T. 
 
 1873. March 26. "Favorita." 
 
 Lucca, Vizzani, T., Sparapani. 
 
 Lucca sang with much force and feeling. 
 
 March 28. "Mignon." 
 
 Lucca, Kellogg, Santz, Vizzani, Jamet. 
 
 A strong cast and excellent performance. 
 
 A newspaper at Pesth says Pauline Lucca could 
 not endure Wagner's music. His admirers said she 
 could not sing it. In three days she mastered the 
 part of Elsa and sang it with immense success. Af- 
 ter the performance she stipulated never to sing it 
 again. 
 
 April 21. " Genevieve." 
 
 Aimie, Bonelli, Jouteau, Duchesne. 
 " Barbb Bleue." 
 " duchesse." 
 "Orphee aux Enfers." 
 Mile. Roland and the above performers. 
 
 April 25. " Les Cent Vierges." 
 
( 171 ) 
 
 AiTnie, Bondli, Roland, Jouteau, Lecuyer, etc. 
 First time. 
 
 Sept. 29. " La Fille de Madame Angot." Lecocq. 
 " Peeichole," etc. 
 Aimie troupe. 
 
 Oct. 6. " Faust." 
 
 In English. 
 
 Kellogg troupe. Van Zant, Seguins, Mor- 
 gan, T., Maas, T., Carleton, Peakes, Hahel- 
 mann. 
 
 Oct. 18. " Lucia." 
 
 Matinfie. 
 
 Miss Kellogg closes her season to-day, af- 
 ter performing her usual selections of 
 opera. 
 
 When Madame Bosio was singing here about 
 thirty years ago, she visited Dr. Kirkbride's hospital 
 for the insane in order that she might represent the 
 crazy Donnas with some degree of truthfulness. My 
 friend who accompanied her said she was struck 
 with the quiet demeanor of the patients, and conse- 
 quently in " Lucia " she is not insanely flighty. It 
 
( 172 ) 
 
 1873. was much the same with Sontag, LaGrange, Patti, 
 Nilsson and Gerster. Mme. Biscaccianti, on the 
 contrary, looked terribly wild, with hair streaming 
 like the tail of a comet, Di Murska looked impulsive 
 and ready to fight, in fact dangerously crazy. 
 
 Nov. 10. " SONNAMBULA." 
 
 lima di Murska, Vizzani, Miss Ferretti, Rossi- 
 Galli. 
 
 Nov. 11. " Teovatoee." 
 
 Di Murska, Tamberlik, N. Testa, Mari, B., 
 Rossi- Gain. 
 
 Dec. 8. " Traviata." 
 
 Strakosch troupe. 
 
 Ostava Torriani, Capoul, Sig. Boy, Del 
 Puente. 
 
 Dec. 9. " LucREZiA." 
 
 Mile. Maresi, Miss Cary, Campanini, Nan- 
 
 ' netti. 
 Maresi has a good deal of execution, but no 
 force ; the others are very good. Cam- 
 panini excellent — large style. Quite a 
 satisfactory performance. 
 
( 173 ) 
 
 Dec. 10. " Ernani." 
 
 Mme. Torriani, Campanini, Maurel, Nanneti. 
 Admirable. 
 
 Dec. 11. "Faust." 
 
 Maresi, Gary, Capoul, Mav/rel, Nannetti. 
 
 Dec. 12. " AiDA." 
 
 Torriani, Carey, Campanini, Maurel, Nan- 
 netti. 
 All good. Muzio, Conductor. 
 
 "Aida" was composed for the Khedive of Egypt, 
 Ismail I., and brought out at Cairo in 1872. The 
 subject is said to have been suggested by the Khe- 
 dive himself. " Aida " has often been described as 
 an opera composed by Verdi in the style of Wagner. 
 " But it contains too much tune for the sake of tune 
 to resemble a Wagnerian opera. Poets who spurn 
 imagery, composers who despise melody, do so, no 
 doubt, in both cases because what they contemn does 
 not readily occur to them, and is, in fact, beyond 
 their reach." 
 
 The Khedive Ismail I. abdicated in 1879, and 
 was succeeded by his son Tewfik, the present Khe- 
 dive. 
 
( 174 ) 
 
 1873. Dec. 13 & 15. "Aida." 
 
 Repeated, aad it improves on one at each 
 repetition. 
 
 Dec. 16. " MiGNOx." 
 
 Mile. Nilsson, Torriani, Gary, Capoul, Nan- 
 
 netti. 
 Of course with such artists it was very 
 
 well performed, but somehow it seemed a 
 
 little tame. 
 
 Mr. Edward Fry, formerly of this city, but who 
 for many years past has resided in New York, is an 
 invalid and confined to his chamber. It occurred 
 to him to have his residence connected with the 
 Academy of Music by telephone. On the first night 
 of the experiment, he put the receiver to his ear 
 with many misgivings, and his delight was un- 
 bounded when he found that he could hear the 
 operatic performance almost as well as any one in 
 the audience bodily present. Mr. Mapleson said: 
 " Mr. Fry sent here yesterday in great excitement to 
 know if the report that I was about to cut the wires 
 was true. I assured his representative that nothing 
 was further from my intention, and as we were 
 giving 'Aida' that night, I sent him a libretto with 
 
( 175 ) 
 
 my compliments. He sent back his thanks, saying 
 that he would not trouble me for an opera glass. 
 On opera nights he sits propped up in bed, the tele- 
 phone at his ear, the libretto in his hand, and the 
 photographs of the chief singers of the evening ar- 
 ranged in a semi-circle around him and within 
 reach. When anything pleases him he joins in the 
 applause. When Gerster outdoes herself, he pats 
 her picture approvingly, and whenever any one 
 sings a false note — which no one in my Company 
 ever does — he stands her on her head until she 
 reforms." 
 
 Mr. Fry is probably the first person who has 
 brought the grand opera to his chamber by means 
 of the telephone. 
 
 The Frys of Philadelphia were a remarkable 
 family. The two elder brothers were able and ac- 
 complished writers, and they all possessed a fine 
 taste for music. William Fry, beside his operas, 
 composed many pieces for the voice ; among others, 
 was a "Stabat Mater." He also- wrote symphonies 
 for JuUien's Band, which were much admired. 
 Charles, a younger brother, who died soon after 
 reaching manhood, had a beautiful baritone voice, 
 and a falsetto pure as a soprano. I remember that 
 on a certain occasion he sang a Swiss air in the 
 
( 176 ) 
 
 falsetto, while two of his brothers sang an accom- 
 paniment. At the close of the air, he descended in 
 a cadenza to his natural voice. On the same oc- 
 casion six of us sang the " Moss Troopers' Chorus." 
 Joseph, Edward and Charles took part. It was 
 composed by William Fry, who drilled us at the 
 piano. He afterwards introduced it in "Notre- 
 Dame of Paris." As before . mentioned, Joseph Fry 
 wrote the librettos of his brother's operas, and trans- 
 lated those of " Norma " and " Anna Bolena." 
 
 Edward Fry became the impresario of an opera 
 company in New York, and as we have just seen, 
 he still enjoys .the opera although confined to his 
 chamber. 
 
 1874. Feb. 2. "Bohemian Girl." 
 
 Miss Kellogg, the Seguins, Maas and Carleton. 
 
 Feb. 3. "RiGOLETTO." 
 
 Mrs. Van Zant, Mrs. Segmn, Maas and Hall. 
 
 Feb. 4. "Marriage of Figaro." 
 
 Miss Kellogg, Van Zant, Seguins, Carleton. 
 
 Feb. 5. " Martha." 
 
 Same company. 
 
( 177 ) 
 
 Feb. 6. "Fra Diavolo." 
 
 Miss Kellogg, Mr. and Mrs. Seguin, Habel. 
 mann. 
 
 Feb. 7. " Faust." 
 
 Mrs. Van Zant, Habelmann, Carleton, Peakes. 
 
 April 6. " La Fille de Madame Angot." 
 
 Aimie, Stani, Juteau, Duchesne, Lecuyer. 
 
 April 7. "Petit Faust." 
 
 Same company. 
 
 April 8. "Les Cent Vierges." 
 
 Aimie, Mile. Roland, and Company. . 
 
 April 9, "La Vie Parisiennb." 
 
 April 10. "La Belle Helene." 
 
 April 11. "L'CEilCreve." 
 Company as above. 
 
 The newspapers recently announced the death^of 
 Tost6e, at Pan, caused, it is said, by grief for thejloss 
 
( 178 ) 
 
 1874. of her daughter. It was Mme. Tost^e who first in- 
 troduced to us the " Grande Duchesse." 
 
 April 13. " La Teaviata." 
 
 Mile. Nilsson, Capoul, DelPuente. 
 
 April 14. " Faust." 
 
 Nilsson, Gary, Capoul, DelPuente, Nannetti. 
 
 April 15. "AiDA." 
 
 Torriani, Gary, Gampanini, DelPuente, Nan- 
 netti, Scolara. 
 
 April 16. "Lohengrin." 
 
 First time. 
 > Mile. Nilsson, Gary, Gampanini, DelPuente, 
 Nannetti. 
 Orchestra largely increased, mise en scAne 
 superb, choruses and instrumentation 
 very fine. Immense house. 
 "Aida" and "Lohengrin" were repeated. 
 
 April 18. " Ernani." 
 
 Third Act. 
 
 Torriani, Gapoul, DelPuente, and all the 
 artists appeared in a concert. 
 
( 179 ) 
 
 April 22. "The Bride of Messina," 
 
 By J. H. Bonawitz. 
 
 Performed for the first time by Miles. La- 
 
 mara, Canissa, Herr Kronenberg, B., and 
 
 Remmertz, T. 
 
 The composition appears to have merit, 
 
 but the performers were feeble. 
 
 May 3. " Ostralenka." 
 
 By the same author. 
 These operas had more merit musically 
 
 than as dramas. They were deficient in 
 
 stage action. 
 
 May 4. The Kellogg troupe commence their usual 
 series of opera, and conclude with 
 
 May 9. " Don Giovanni." 
 
 Miss Kellogg, Mrs. Van Zant, Miss McOulloch, 
 and Company. 
 
 Nov. 30. " Sonnambula." 
 
 Miss Albani, (her first appearance), Benfra- 
 
 telli T., Fiorini. 
 She has a clear and pure soprano, flexible 
 
( 180 ) 
 
 1874. and elastic; a good method and shows 
 
 dramatic ability. 
 
 Dec. 1. "Ernani." 
 
 Mile. Maresi, Carpi, DelPuente. 
 
 Dec. 2. " Lucia." 
 
 Emma Alhani, Carpi, DelPuente, Scolara. 
 
 Albani was excellent, especially in her duo 
 with Edgardo and her crazy scene. She 
 gives promise of becoming a distin- 
 guished artist. 
 
 ■ Donizetti designed and wrote the words as well 
 as the music of the last act of " Lucia." 
 
 All the greatest singers of the modern school 
 who have appeared since, and including Pasta, have 
 gained their reputations chiefly in Bellini's and 
 Donizetti's operas. It is true they formed their 
 style in Rossini's music. " Anna Bolena," " Norma," 
 and "Amina" were written for Pasta. "El vino" 
 for Rubini ; " Edgardo " for Duprez ; " Puritani " for 
 the grand quartette, Grisi, Rubini, Tamburini and 
 Lablache. 
 
 Dec. 3. " Faust." 
 
( 181 ) 
 
 Marie Heilbron, Miss Gary, DeBassini, T., 
 Tagliapietra, Bar., Fiorini. 
 
 Dec. 4. "ElGOLETTO." 
 
 Mile. Albani, Gary, Carpi, DelPuent'e, Scolara. 
 
 Albani and DelPuente were excellent; she 
 showed much dramatic ability. It was 
 altogether a very good performance. 
 
 Dec. 5. "La Teaviata." 
 
 Mile. Heilbron, Benfratelli, Tagliapietra. 
 Heilbron had a good conception of the 
 character and of the music, and sang it 
 well. She has a remarkably pretty neck 
 and bust. 
 
 "Violetta is a great favorite with debutantes. 
 The opportunity given by the part for the display 
 of elaborate toilettes is no dotibt one reason. Then 
 all the interest is centred in the heroine. She be- 
 gins and ends the first act, ends the second, and has 
 the whole of the third act to herself." 
 
 Before entering on the year 1875, it may be well 
 to recall the performances of some of the greatest 
 singers of the first half of the present century, who 
 have never visited this country. Like all complete 
 
( 182 ) 
 
 1874. artists — like Malibran, Ronconi and Garrick — La- 
 blache and Tamburini were equally happy in seri- 
 ous and in comic parts. "As Orveso in 'Norma,' 
 nothing could be more tragic and impressive than 
 Lablache in the scene with the repentant, dying 
 priestess in the last act." His Hmry VIII., in 
 " Anna Bolena," was a wonderful picture — his Le- 
 porello and Don Pasquale were models of comic act- 
 ing. Tamburini possessed the same faculty of 
 adapting himself to the part, whether tragic or 
 comic. 
 
 In 1822 Tamburini was engaged at Palermo, 
 where, on the last day of the carnival, the public 
 attended the opera, with drums, trumpets, sauce- 
 pans, shovels, and all kinds of noisy instruments. 
 On this tumultuous evening, Tamburini, already a 
 great favorite, had to sing in "Elisa e Claudio," 
 which was performed in this city, January 23d, 
 1833, by the Montresor troupe. The public received 
 him with a salvo of their carnavalesque artillery, 
 when Tamburini, finding it impossible to make him- 
 self heard in the ordinary way, determined to exe- 
 cute his part in falsetto, and commenced singing 
 with the voice of a soprano sfogato. The astonished 
 audience laid their instruments aside to listen to 
 the novel and unexpected accents of their basso can- 
 
. ( 183 ) 
 
 tante. His falsetto was of wonderful purity, and in 
 using it lie displayed the same agility for which he 
 was remarkable in his ordinary voice. The audi- 
 ence were interested and pleased. But the poor 
 prima donna could not see the joke; she imagined 
 the demonstrations which she received whenever she 
 appeared were intended to insult her, and refused to 
 continue her part. The manager was in great 
 alarm, for he knew the public would not stand upon 
 ceremony that evening, and if the performance was 
 interrupted by anything but their own noise, they 
 would probably break everything in the theatre. 
 Tamburini rushed to the prima donna's room. Mad- 
 ame Lipparini had left the theatre, but she had left 
 the costume of Elisa behind. The ingenious bari- 
 tone threw off his coat, contrived by stretching 
 and splitting to get on Elisa's satin dress, clapped 
 her bonnet over his own wig, and thus equipped 
 appeared on the stage, to take the part of the un- 
 happy and now fugitive Lipparini. The audience 
 applauded the entry of the strangest Elisa ever seen. 
 Her dress came only half way down her legs, the 
 sleeves not anywhere near her wrists. The soprano 
 of a moment's notice had the largest feet and hands 
 a prima donna was ever known to possess. 
 
 The band played the ritornella of Elisa's Cava- 
 
( 184 )■ . 
 
 tina a dozen times, and the most turbulent of the 
 audience were about to jump on the stage, when 
 Tamburini rushed on in the costume above de- 
 scribed. After courtesying to the audience, press- 
 ing one hand on his heart, and with the other wip- 
 ing away the tears of gratitude he was supposed to 
 shed, he commenced the Cavatina, and went through 
 it admirably ; burlesquing it a little for the sake 
 of the costume, but singing it, nevertheless, with 
 marvelous expression, and displajang executive 
 power far superior to any that Mme. Lipparini 
 could have shown. As long as there were only 
 Arias to sing, Tamburini got on easily enough. He 
 devoted his soprano voice to Elisa, while the Cownt 
 remained still a basso in his ordinary voice. But a 
 duet for Elisa and the Count was approaching and 
 the excited amateurs, now oblivious of drums, 
 kettles and kettle-drums, were speculating with 
 anxious interest as to how Tamburini would 
 manage to be soprano and basso-cantante in the 
 same piece. The vocalist found no difficulty. He 
 performed both parts — bass replying to the soprano, 
 and the soprano to the bass — with the most perfect 
 precision. He even made a point of passing from 
 right to left, and from left to right, according as he 
 was the father-in-law or the daughter. This was 
 
( 185 ) 
 
 the crowning success. The opera was listened to 
 with pleasure and delight to the very end. He was 
 called upwards of a dozen times on to the stage. 
 This was not all ; they were so grieved at the idea 
 of losing him, that they entreated him to appear 
 again in the ballet. He did so and gained fresh 
 applause by his performance in the pas de quatre 
 with the Taglionis and Mile. Rinaldini. — Edwards. 
 " Signor Tamburini was one of the handsomest 
 men ever seen on the stage." — H. F. Charley, 1862. 
 
 1875.- Jan. 6. " Chilperic.'' . 
 
 Chestnut Street Theatre. 
 Soldene troupe. (English.) 
 
 " Pkincess of Trebizonde." 
 Soldene troupe. (English.) 
 
 "The Arch-Duchess." 
 Soldene troupe. (English.) 
 
 Jan. 11. " Tkovatore." 
 
 Miss Kellogg and her troupe. 
 
 Jan. 12. " Maritana." 
 
 Mrs. Van Zant, Miss Beaumont, Castle, Carle- 
 ton. 
 
( 186 ) 
 1875. Jan. 13. "Martha." 
 
 Jan. 14. " Eknani." 
 
 Jan. 15. " MiGNON." 
 
 iFirst time in English. 
 Kellogg, Van Zant, Beaumont, Castle, Peakes. 
 
 " Faust." 
 
 "Marriage op Figaro." 
 
 March 26. " Girople-Girofla," Lecocq. 
 
 Mme. Geoffroi, Mile. Mindle, M. DeQuercy. 
 Walnut Street Theatre. 
 
 April 12. " MiGNON." 
 
 Miss Kellogg, and her company. 
 
 "The Talisman," Balfe. 
 
 First time. 
 Miss Kellogg and troupe — and a live camel. 
 
 April 21. " RisTORi in Tragedy." 
 
 She and her excellent company performed 
 one week. 
 
 April 26. " GiROFLE-GlROFLA." 
 
 In German. 
 
( 187 ) 
 Lina Mayr and her company. 
 
 May 4. " La Joli Parpumeuse." 
 
 Arch Street Theatre. 
 Aim^e and her troupe. 
 
 " Perichole." 
 
 "Mdme. Angot." 
 
 Oct. 4. " Girople-Girofla." 
 
 English company. 
 Julia Mathews, Macdermott, Forrester. 
 
 Oct. 5. " BOULOTTE." 
 
 Miss Mathews' company. 
 
 Oct. 8. " Grand Duchesse." 
 
 Oct. 9. " Les Pres Gervais." Lecocq. 
 
 Same company. 
 
 Oct. 17. " Grand Duchesse." 
 
 Mexican Juvenile company. 
 Quite clever for such little folks. 
 
 In no other country are singers so thoroughly 
 instructed for the operatic stage as at the Con- 
 
( 188 ) 
 
 servatoire de Musique in Paris. They have 16 
 classes for solfeggio, eight singing classes; a class 
 for vocal harmony, and another for part writing. 
 There is a class for lyrical declamation, one class 
 for opera and two classes for opera comique. Besides 
 over 30 instrumental classes, they have six for har- 
 mony and three for composition, counterpoint and 
 fugue. To these must be added, classes for the 
 general history of music, grammar, prosody, etc., 
 three classes for dramatic declamation, one for stage 
 deportment, and one for fencing. The influence 
 of this school pervades all the varieties of musical 
 exhibitions in France. Even the Opera BoufFe 
 owes much of its brilliancy and grace to this 
 influence. 
 
 It does not follow, however, that all the pop- 
 ulation of France, or even of Paris, are perfect 
 musicians. Berlioz says a young lady buying a 
 piece of music at Brandus's, was asked whether 
 the fact of its being ' in four flats ' would be any 
 obstacle to her playing it. She replied that it made 
 no difference how many flats were marked, as be- 
 yond two, she always scratched them out with a 
 penknife. 
 
 Nov. 22. " MiGNON." ; 
 
( 189 ) 
 
 Miss Kellogg's troupe. Van Zant, Beau- 
 mont, Castle, etc. 
 
 Nov. 23. " Huguenots." 
 
 Miss Van Zant, Montague, Mrs. Seguin, 
 Castle, Conly. 
 
 1876. Jan. 3. "Postillion of Lonjumeau." 
 Uerr- Wachtel, Mme. Wagner. 
 In German- 
 Jan. 5. "Teovatore." 
 
 Mme. Wagner, Bcchnan, C, Wachtel. 
 
 Jan. 7. "La Dame Blanche." 
 
 Mile. Pappenheim, Kuster, Wachtel. 
 
 •Jan. 8. "Martha." 
 
 Pappenheim, Beckman, Wachtel, Fassbender. 
 
 Jan. 12. " Huguenots." 
 
 Pappenheim, Wachtel and Company. 
 
 Jan. 14. "Trovatore." 
 
 Pappenheim, Wachtel and Company. 
 
( 190 ) 
 
 1876. Jan. 15. "Fidelio." 
 
 Pappenheim, Milder, T., W. Formes. 
 M'lle. Pappenheim sung with much dramatic 
 feeling and intelligence. 
 
 March 20. "Norma." 
 
 Madame Jitiens, Beaumont, Karl, Reyna. 
 Titiens has a large style, declamation ex- 
 cellent. 
 
 Mar. 22. " Favorita." 
 
 Titiens, Tom Karl, Tagliapietra, Reyna. 
 Madame Titiens, excellent, although her 
 voice occasionally gave way. 
 
 Mar. 24. " Trovatore." 
 
 Mdme. Titiens, Beaumont, Tagliapietra and 
 Brignoli, who transposed his serenade 
 one tone. 
 
 Mar. 25. " Traviata." 
 
 Pappenheim, Brignoli, Tagliapietra. 
 Poppen/ieim appeared frightened, and not 
 quite at home in Italian. 
 
( 191 ) 
 
 Mar. 27. "Luceezia." 
 
 Titiens, Brignoli and Orlandini. 
 
 Mar. 29. "Don Giovanni." 
 
 Titiens, Beaumont, Carrena-Sauret, Brignoli, 
 
 Tagliapietra, Orona {Leporello.) 
 Titiens was very good. She. sang the letter 
 solo, usually omitted. 
 
 Mar. 31. "Norma." 
 
 Cast as on the 20th. 
 
 Cats are not desirable performers on the operatic 
 stage, especially in tragedy; and yet they appear 
 ambitious to take a part now and then. The first 
 authentic instance recorded in history was, I believe, 
 at the production of " II Barbiere" at Rome, in 1816. 
 I witnessed a feline d6but when the Havana troupe 
 first came to this city in 1847. During the perform- 
 ance of "Norma" a cat suddenly appeared on the 
 stage — stood, and stared at the footlights, fiddlers, 
 audience and actors, with feet spread out, and ready 
 to bounce in any direction; the tragic ''Norma," 
 overwhelmed with grief, I regret to say — burst into 
 a merry laugh. Pussy vanished as suddenly as she 
 
( 192 ) 
 
 1876. apjDeared. The " Norma " was Signorina Tedesco, at 
 the "Walnut Street Theatre. 
 
 April 1. " Faust." 
 
 Pappenheim, Crona as Mephistopheles. 
 
 April 19. " L'Etoile du Nord." 
 
 Paris, 1854. 
 Miss Kellogg, Montague, Seguin, Castle, 
 
 Conly, Peakes. 
 First time in English. 
 
 April 20. "Star of the North." 
 
 Mme. Van Zant, Maas, Carleton. The 
 
 others as above. 
 Mme. Rosewald alternates with Miss Mon- 
 tague. 
 
 April 27. "Ernani." 
 
 Van Zant, Castle, Carleton, Conly. 
 
 May 6. " Star of the North." 
 
 Kellogg and Company. 
 The Empress of Brazil was present. 
 
( 193 ) 
 
 Sept. 11. " Norma." 
 
 3fme. Palmier i, Persiani, M. Palmieri, Conly. 
 
 It has been, and is still the habit of certain Eng- 
 lish critics to under-rate Bellini, Donizetti and 
 IMercadante. I remember to have seen an im- 
 portant work, which besides the printed music, 
 contained criticisms. It was there stated that the 
 above composers " would not be known after half a 
 dozen years have passed." This was published 
 soon after "La Sonnambula" was first produced. 
 Even George Hogarth, in his " Memoirs of the 
 Musical Drama," (London, 1838,) says: "'Elisa e 
 Glaudio ' of Mercadante, ' Norma ' of Bellini, ' Brazen 
 Horse ' of Auber, and ' Zampa ' of Herold, were total 
 failures. On the other hand, Barnett's elegant 
 opera of the 'Mountain Sylph' ran one hundred 
 nights." In his " Musical History, Biography and 
 Criticism," he says : " Their airs are strings of com- 
 monplace passages borrowed chiefly from Rossini, 
 and employed without regard to the sentiment and 
 expression required by the scene. Their concerted 
 pieces are clumsy and inartificial; and their loud 
 and boisterous accompaniments show a total ignor- 
 ance of orchestral composition. This general de- 
 scription applies to them all. Pacini, Mercadante, 
 
( 194 ) 
 
 1876. Bellini and Donizetti are all alike, and have not 
 a single distinctive feature." He accords great 
 merit to Balfe, Barnett and Rooke. Hogarth was a 
 brother-in-law to Charles Dickens. He was a good 
 writer, was familiar with music and well versed in 
 musical history. His prejudice blinded him to the 
 merits of the modern Italian school. "Sonnam- 
 bula " has been a favorite opera with all the most 
 distinguished singers of the musical world, from 
 the time it was first produced on the stage to the 
 present day. "For pure melody and emotional 
 music of the most simple and touching kind, it has 
 never been surpassed." It is difficult to perceive 
 the clumsiness in the finale of 'Puritani,' 'Vieni al 
 tempio,' or in the trio in ' Lucrezia,' or in the sestetto 
 of ' Lucia,' or in the lovel}^ and graceful quartet in 
 'DonPasquale.'" 
 
 Sept. 12. " Trovatoee." 
 
 Mme. Palmieri, Miss Henne, Brignoli, 
 • Preusser. 
 ■ Admission, $1. Reserved, 50 cents extra. 
 
 Sept. 13. " II Baebibee." 
 
 Mme. Anna di Belocca, Brignoli, Gottschalk. 
 Belocca, the Russian, is called a contralto ; 
 
( 195 ) 
 
 except her upper notes, which are rather 
 thin, she might be called a mezzo- 
 soprano; her voice is fresh, but not 
 sufficiently schooled. 
 
 Sept. 14. "LUCKEZIA BOEGIA." 
 
 Mme. Palmieri, Henne, BrignoK, Conly. 
 Quite a fair performance. 
 
 Sept. 16. " Favoeita." 
 
 Belocca, Brignoli, Gottschalk, Baccelli. 
 Belocca sang but moderately well. She is 
 very pretty. 
 
 Sept. 19. "Semikamide." 
 
 First time in 18 years. 
 Mme. Palmieri, Belocca, M. Palmieri. 
 
 Since the first production of " Semiramide," all 
 of the most distinguished sopranos and contraltos 
 have loved to appear in that admirable wo,rk. The 
 part of "Semiramide," beside Pasta, Grisi, Viardot- 
 Garcia and Cruvelli, was sung by Sontag at Paris, 
 1829, and by Mme. Bosio at St. Petersburg, in 1855. 
 Among the Arsaces were Pisaroni, Brambilla and 
 Alboni. Malibran appeared in both Arsace and 
 
( 196 ) 
 
 1876. Semiramide, and was equally good in both char- 
 acters. 
 
 Madame Pisaroni was one of the most celebrated 
 contraltos known in musical history. She made 
 her d6but in Italy, in 1811. She at first came out 
 as a soprano, but two years afterwards, a severe 
 illness having changed the nature of her voice, she 
 appeared in all the most celebrated parts, written 
 for the musicos or sopranists, who were now be- 
 ginning to die out, and to be replaced by ladies 
 with contralto voices. She was hideously ugly. 
 Lord Mount Edgcumb tells us, that another favorite 
 contralto of the day, Mariani, (Rossini's original 
 Arsace) was Pisaroni's rival " in voice, singing and 
 ugliness;" adding, that "in the first two qualities 
 she was certainly her inferior ; though in the last 
 it was difficult to know to which the preference 
 , should be given." Pisaroni, on gaining a contralto, 
 did not lose her original soprano voice. She died 
 in 1872. 
 
 Madame Palmieri was somewhat passie ; she was 
 a soprano with full low notes and good method, 
 dramatic, and sang with expression. 
 
 Mme. Titiens had a rich soprano voice and a 
 large and very dramatic style. When here she 
 was on the wane and her voice readily became 
 
( 197 ) 
 
 fatigued and consequently her intonation was not 
 always perfect. But she sang with much feeling 
 and expression. 
 
 M'Ue. Nilsson is a true soprano of about two and 
 a half octaves. Her voice is of a good and rich 
 quality, pure, and even in the registers. Execution 
 and intonation generally good. In "Lohengrin" 
 she was excellent. 
 
 Mme. Lucca is a mezzo-soprano of a very agree- 
 able quality of voice. She is a very attractive 
 singer and an earnest actress, and expresses the 
 music with much intelligence and feeling. 
 
 M'lle. Torriani is a German and an effective and 
 dramatic singer. Aida, as performed by her, Miss 
 Gary, Gampanini, Maurel and Nannetti, was a grand 
 performance. Muzio, the friend of Verdi, was the 
 musical conductor. 
 
 Maurel, a Frenchman, is an admirable baritone 
 of the best school — he is also an excellent actor. 
 
 Gampanini is the best tenor we have had for 
 many years. He has a noble voice and great dra- 
 matic feeling. He is so conscientious a singer that 
 he never spares his voice, and it sometimes shows 
 the effect of wear ; but when he first sang' here " Di 
 pescator" in "Lucrezia," I thought I had never 
 heard a voice more fresh or charming. In passages of 
 
( 198 ) 
 
 tenderness he is as excellent as he is grand in the 
 most passionate and declamatory parts. 
 
 Del Puente is a baritone, with a good voice and 
 good method. He is a Spaniard. 
 
 Aim6e troupe open with 
 
 Oct. 2. " GiROPLE-GlROFLA." 
 
 Followed by their usual repertoire. 
 
 Oct. 6. " La Timbale D'akgent." 
 
 First time. 
 Aimie, Guymard, Duplan, Mezieres. 
 
 Oct. 16. "Lucia." 
 
 Miss Kellogg, Maas, Carleton, Conly. 
 
 " MiGNON." 
 
 " Teovatoee." 
 " Faust." 
 
 Oct. 27. "Star op the North." 
 
 Kellogg, Rosewald, Seguin, Lancaster, Maas, 
 Conly. 
 
 Oct. 28. "Bohemian girl." 
 
 Closed the season. 
 
( 199 ) 
 
 Nov. 8. " II Vascello Fantasma." 
 
 Mme. Pappenhdm, Miss Cooney, Preusser, 
 
 Sullivan. 
 Three nights. 
 
 1877. Jan. 15. " Fra Diavolo." 
 
 Mme. Rosewald as Zerlina ; Carleton as Fra 
 Diavolo; Mr. and Mrs. Seguin and 
 Conly. 
 
 Jan. 17. " Faust." 
 
 Rosewald, Maas, Carleton, Conly. 
 
 Jan. 19. "Maetha." 
 
 Same performers. 
 
 The 20th Anniversary of the Opening of the 
 Academy of Music. 
 
 Feh. 26. " Trovatore." 
 
 Mme. Oazzaniga as Azucena; Miss McOul- 
 loch as Leonore; Brignoli, Tagliaftco and 
 Reyna. 
 
 Mar. 5. " Marriage of Figaro." 
 
 Kellogg, Segvdns, Rosewald, Carleton, Conly, 
 Peakes. 
 
( 200 ) 
 
 1877. Mar. 7. " Flying Dutchman." 
 
 Miss Kellogg, Maas, Carleton, Conly, Turner. 
 Miss Kellogg was unusually good. 
 
 April 9. " La Boulangere a des Ecus.", 
 Aim6e company. 
 
 April 11. " La Petite Maribe." Lecocq. 
 
 First time. 
 
 Aimee, Desire, Raoult, Duplan. 
 Quite pretty. 
 Walnut Street Theatre. 
 
 April 13. "La Belle PouLE." 
 
 Aim6e company. 
 
 April 30. "AiDA.,' 
 
 Kellogg, Gary, Frapoli, Verdi. 
 
 May 1. " Trovatore." 
 
 M'lle. Roze, Mme. Giudotti, C, Frapoli, 
 Verdi. 
 
 May 2. " Mignon." 
 
 Kellogg, Marie Roze, Cary, Karl, Conly. 
 
( 201 ) 
 
 May 4. "Faust." 
 
 Matinee. 
 M'Ue. Roze, Montague, Karl, Conly. 
 
 Oct. 8. " Les Huguenots." 
 
 Mms. Pappenheim and Human, Miss Grim- 
 minger, Adams and Blum. 
 
 Oct. 10. " Taxxhauser." 
 
 Miss Wilde, Human, Adams, Wiegand. 
 
 Oct. 11. "Dee Freischutz." 
 
 Pappenheim, Cooney, Wiegand, Werrenrath. 
 
 Oct. 12. " Lohengrin." 
 
 Pappenheim, Wilde and Adams. 
 Repeated. 
 
 Nov. 13. " Majorilaine." Lecocq. 
 
 Aim^e, Duparc, Jouard. 
 Arch Street Theatre. 
 
 Pasta should be an example to all aspirants for 
 operatic distinction. She appeared in Paris in 1816, 
 and afterwards in London, but made no impression. 
 Not discouraged, but convinced that she had much 
 
( 202 ) 
 
 to learn, she returned to Italy where she studied un- 
 remittingly for four years. When she reappeared 
 in Paris in 1821, as Desdamona in " Othello " her 
 success was complete. Madame Cinti Damoreau's 
 experience was much the same, 
 
 " Kean while acting, often exhausted himself so 
 much that he fell into fits. This I am told was the 
 case with Miss O'Neil." And he might have added 
 Pasta. — Byron's Conversations, by Captain Medwin, 
 1821-22. 
 
 1878. Jan. 7. "Aid a." 
 
 Miss Kellogg, Cary, Graff, Verdi, Conly. 
 
 A clever performance, and a good house. 
 
 " Aida " and " Lohengrin " were produced 
 in this country before they had been per- 
 formed in either Paris or London. 
 
 Jan. 8. " Favoeita." 
 
 M'lle. Roze, Karl, Verdi and Conly. 
 In Rossini's time the principal parts were nearly 
 all written for the contralto voice. Since then so- 
 pranos have become more abundant. The part of 
 Leonora in " Favorita " was written for Mdme. Stolz, 
 a contralto, at Paris. 
 
( 203 ) 
 
 Jan. 9. " MiGNOx." 
 
 Misses Kellogg, Cary and Montague, Tom 
 Karl, Conly and Gottschalk. 
 
 Jan. 10. " Faust." 
 
 Roze, Cary, Karl, Verdi, Conly. 
 
 Jan. 11. " Bohemian Girl." 
 
 Kellogg, Annandale, Graff, Verdi. 
 
 Jan. 14. "Teovatoke." 
 
 Mdme. Roze, Annandale, Graff, Verdi. 
 Graff has a harsh voice, much fire and 
 takes high C with effect. Verdi, should 
 he study faithfully, ought to make a 
 good singer. 
 
 Mar. 18. " Lohengrin." 
 
 Pappenheim, Grimminger, Adams, Blum. 
 
 Mar. 20. " Rienzi." 
 
 First time here. 
 
 Pappenheim, Human, Adams and Blum. 
 Melodies after the Italian style ; fine finales ; 
 
 accompaniments excessively loud. 
 Repeated several times. 
 
( 204 ) 
 
 1878. " When Mesdames Bosio and Patti are heard, the 
 most hardened Wagnerian must be led to reflect. 
 For were the Wagnerian system established on the 
 operatic stage to the exclusion of all others, there 
 would be no place for such vocalization as theirs." 
 Verdi in comparison to Wagner is very melodic, 
 and yet it is a common saying in Italy, that to sing 
 Rossini's music, it requires six years of study, but to 
 sing A'erdi — six months. 
 
 Mar. 25- Rossini's "Stabat Mater," and 
 ^"erdi's "Requiem." 
 Pappenheim, Miss Phillips, Fritsch and Blum. 
 Maretzek, conductor. 
 
 A good authority says: "Persons who are of 
 opinion that Rossini's 'Stabat Mater' is written in 
 the operatic style, and that the airs of Handel's 
 oratorios are not in the operatic style, may be inter- 
 ested to hear that 'Lord, remember David,' was 
 originally composed for the opera of 'Sosarme,' 
 where it is set to the words ' Rendi I'sereno al ciglio,' 
 and that 'Holy, Holy, Lord God, Almighty,' first 
 appears in the opera of ' Rodelinda ' as ' Dove sei 
 amato bene.' " — See also : Life of Handel, by W. S. 
 Rockstro. London, 1883. 
 
( 205 ) 
 
 Mar. 26. "Trovatore." 
 
 Pappmheim, Miss Phillips, Adams and Blum. 
 
 Mar. 27. " Rienzi." 
 
 Cast as on the 20th. 
 
 Mar. 29. " Robert le Diable." 
 
 In German. 
 
 Pappenheim, Human, Adams, Fritsch, Adolph 
 as Bertram. - 
 
 Mar. 30. " Der Freischtjtz." 
 
 Pappenheim, Cooney, Adams, Wiegand. 
 
 April 13. " Chimes of Normandy," Planquette. 
 Emilie Melville, Miss Searle, Castle, Turner, 
 Seguin. 
 
 April 29. " MiGNON." 
 
 Mile. Roze, Kellogg, as FUina; Miss Gary, 
 
 Karl and Conly. 
 An acceptable performance. 
 
 April 30. "AiDA." 
 
 Kellogg, Gary, Frapoli, Verdi and Gonly. 
 Frapoli's upper notes are forced and harsh ; 
 
( 206 ) 
 
 he is not a true tenor. Conly has a 
 healthy voice. 
 
 May 1. " Trovatore." 
 
 Roze, Guidotti, Frapoli, Verdi. 
 
 May 3. " Martha." 
 
 Kellogg, Cary, Karl, Gottschalk. 
 Quite agreeable. 
 
 It has been said that " a work is sometimes more 
 successful than its author, and ' Martha ' has cer- 
 tainly distanced Herr von Flotow in the race for 
 popularity. It may be said that ' Martha ' has had 
 wonderful luck. What a bonne fortune for the work 
 to have inspired such a singer as Mme. Bosio with 
 a liking for it, and, after her, two such , singers as 
 Mme. Patti and Mme. Nilsson." 
 
 "When Flotow arranged " Martha " for the Italian 
 stage, he added two airs — one for the contralto, 
 Nantier-Didi^e, and one for the baritone, Graziani. , 
 
 May 27. " Les Cloches de Corneville." 
 Aimie, Isaye, Jouard, Mezieres. 
 Arch Street Theatre. 
 
( 207 ) 
 
 Oct. 21. " Trovatore." 
 
 Miss Kellogg, Gary, Lazzarini, Gottschalk. 
 Lazzarini is young, no style, voice rather 
 good. 
 
 Oct. 22. " Traviata." 
 
 Catarina Marco, (has merit), Pantaleoni, Bar. 
 
 Oct. 23. " II Ballo." 
 
 Miss Kellogg, Gary, Marco, Rosnati, Panta- 
 leoni, Tagliapietra. 
 
 Oct. 25. " Carmen." 
 
 First time. 
 
 Kellogg, Marco, Lazarini, Pantaleoni, Gauf- 
 man. 
 
 1879. Jan. 28. "Lucia bi Lammermoor." 
 
 Maria Litta, her first appearance; Gonly, 
 Lazzarini, Pantaleoni. 
 
 Jan. 29. "Aida." 
 
 Kellogg, Gary, Adams, Pantaleoni, Gonly, 
 Signorina Bonfanti, (ballerina). 
 
 Jan. 30. " Faust." 
 
( 208 ) 
 
 1879. lAUa, Gary, Adams, Conly, Caufman. 
 
 All Americans, and all creditable. 
 
 Jan. 31. " MiGNON." 
 
 Kellogg, DiMwrska, Gary, Westburg, (wretch- 
 ed), Gottschalk and Conly. 
 
 Feb. 6. " Her Majesty's Ship Pinafore." 
 At the Broad Street Theatre. 
 
 Feb. 10. " Faust." 
 
 Her Majesty's Opera Company. 
 Miss Minnie Hauk, Del Puente, Frapoli, 
 Galassi. 
 
 Feb. 11. " Lucia." 
 
 Madame Gerster, Gampanini and Galassi. 
 Gerster is a pure soprano — sang to F in alt 
 — even, penetrating and exceedingly 
 delicate voice. Sings with ease and ex- 
 quisite finish. The other artists, ex- 
 cellent. Orchestra and chorus good. 
 
 Feb. 12. " Carmen," By Bizet. 
 
 Minnie Hauk, Campanini, Del Puente. 
 
( 209 ) 
 
 Good performance. Mise en scene very 
 pretty. 
 
 Feb. 13. " SONNAMBULA." 
 
 Gerster, Robiati, Frapoli, Foh. 
 Immense house. 
 
 Feb. 14. " Teovatoke." 
 
 Roze, Lablache, Campanini, Galassi. 
 
 Feb. 17. " I PuRiTANi." 
 
 Gerster, Campanini, Galassi and Foli. 
 An excellent performance. 
 
 " Puritan! " was written for the greatest quartet 
 that the operatic world has ever known. Grisi, 
 Rubini, Tamburini and Lablache. The libretto by 
 Count Pepoli is dull and obscure. The opera was 
 brought out in London in 1835, for Grisi's bene- 
 fit, and the " Puritani season " is famous as the most 
 brilliant ever known. Bellini died in the same 
 year. A committee of his friends, including Eos- 
 sini, Gherubini, Paer and Carafa, undertook the 
 general direction of his funeral, of which the mu- 
 sical department was entrusted to M. Habeneck, the 
 chef d'orchestre af the Acad^mie Royale. The most 
 
( 210 ) 
 
 1879. remarkable piece for the programme of the funeral 
 music, was a lacrymosa for four voices, without ac- 
 companiment, in which the text of the Latin hymn 
 was united to the beautiful melody sung by the tenor 
 in the third act of " Puritani." It was executed by 
 Rubini, IvanofF, Tamburini and Lablache. 
 
 Sanderson in " The American in Paris," says, I 
 followed the funeral of Bellini, the composer of 
 " Pirata," " Puritani," and other first rate operas. Is 
 it not a pity to die with so much talent at twenty- 
 nine, when so many fools live out their four score ? 
 I do not recollect anything that old Methusaleh said 
 or did, with his nine hundred years ; and he could 
 not have made such an opera as " Puritani," if he 
 had lived as many more. At Pere la Chaise the cer- 
 emony was imposing. Speeches were pronounced 
 in Italian and French by good orators. The breezes 
 whispered through the pines, and a thunder-storm, 
 as if expressly, came , over the sun, and played 
 bass in the clouds, and the clouds themselves wept 
 as the grave closed upon Bellini. 
 
 Feb. IS. " II Flauto Magico." 
 
 Mme. Gerster, Roze, Frapoli, Del Puente, Foli. 
 
( 211 ) 
 
 May 9. " Daughter op the Regiment." 
 By amateurs. Did not know them. 
 
 June 18. " Madame Fa v art." 
 
 Arch Street Theatre. 
 
 Aimie, Jouard, Mezieres, Jouteau, M'lle. 
 Raphael. 
 
 Oct. 1. " Traviata." 
 
 M'lle. LaBlanche (Miss Davenport), her first 
 appearance, Sig. Baldanza, GoUscJialk 
 
 Oct. 2. "MIGNPN." 
 
 Belocca, Litta, Lancaster, Lazzarini. 
 
 Oct. 3. " Faust." 
 
 M'lle. LaBlanche, Belocca, Lazzarini, Cas- 
 telmary. 
 
 Oct. 4. " Lucia." 
 
 M'lle. Litta, Baldanza, Gottschalk. 
 
 Oct. 6. "AlDA." 
 
 Mme. Terisina Singer, Belocca, Petrovitch, 
 
 8torti, Castelmary. 
 Quite creditable. 
 
( 212 ) 
 
 Oct. 7. " Martha." 
 
 LaBlanche, Belocca, Lazzarini. 
 
 Oct. 9. " Trovatoee." 
 
 Singer, McOuUoch, Storti, Petrovitch. 
 Mdme. Singer was dramatic; Storti, bari- 
 tone, effective. 
 
 Dec. 22. " Madame Angot." 
 
 M'Ue. Paola-Marie, M. Capoul. 
 
 Dec. 23. " Pbeichole." 
 
 Paola-Marie, Bouvard and Angele. 
 
 Dec. 24. " GlEOFLE-GlEOPLA." 
 
 M'Ues. Marie and Angele, Capoul, Duplan. 
 
 Dec. 25. " Geand Duchesse." 
 
 Marie, Angele, Capoul, Mezieres. 
 
 Dec. 26. " Barbe Bleue." 
 
 Marie, Juteau, Mme. Delorme. 
 
 Dec. 27. "Les Cloches db Coeneville." 
 
 Paola-Marie, Qregoire and Company. 
 
( 213 ) 
 
 Dec. 29. " MiGNON." 
 
 Paola-Marie, Bouvard, Angele, Capoul, Ju- 
 teau. 
 
 Dec. 30. " La Camargo." By Lecocq. 
 
 Marie, Angele, Gregoire, Jouard and Com- 
 pany. 
 
 Dec. 31. " La Belle Helens." 
 
 Same company. 
 Marie, Angele, Juteau. 
 
 1880. Jan. 1. " La Camaego." 
 
 Cast as on the 30th. 
 Excellent actors. 
 
 Jan. 2. " Les Brigands," 
 
 Gregoire, Angele, Juteau, Duplan, Mezieres. 
 
 Jan. 8. " Les Petit Due." Lecocq. 
 
 , Marie, Gregoire, Jouard, Duplan, etc. 
 This was a very superior " BoufFe " com- 
 pany. Paola-Marie was especially good. 
 
 Madame Etelka Gerster has a lovely clear, and 
 pure soprano voice, - even, penetrating and exceed- 
 
( 214 ) 
 
 1880. ingly delicate. She sings with remarkable facility 
 and exquisite finish. Though without much power, 
 her voice by its purity of tone, was heard clear and 
 ringing in the finale of "Puritani," above the voices, 
 chorus and orchestra. 
 
 Feb. 16. "SONNAMBDLA." 
 
 Her Majesty's Opera Company. 
 
 Marie Marimon, Il'lle. Robiati, Campanini, 
 
 Bel Puente. Ardlti, Conductor. Mme. 
 
 Marimon is a soprano, good voice, 
 
 method and execution. 
 
 Feb. 17. " Linda." 
 
 M'lle. Valleria (a Baltimorean), Lablache, 
 Runcio, T., Galassi, Behrens. 
 
 Feb. 18. " AiDA." 
 
 M'lle. Alwina Valleria, Gary, Campanini, 
 
 Galassi, Monti. 
 Good performance. 
 
 Feb. 19. " DiNORAH." 
 
 Marimon, Lablache, Robiati, Runcio, Galassi, 
 
 Monti. 
 One act of 
 
( 215 ) 
 
 " Teovatoee." 
 Campanini. 
 
 Feb. 20. " MiGNON." 
 
 Emile Amhri, Valleria, Gary, Campanini, 
 .Del Puente. 
 
 Feb. 21 " Faust." 
 
 Matin6e. 
 
 Valleria, Gary, Lablache, Campanini, Galassi, 
 Behrens, 
 
 Feb. 21. " Lucia." 
 
 Valleria, Brignoli, Galassi. 
 
 Feb. 23. "Il Flauto Magico." 
 
 Marimon, Valleria, Gary, Runcio, Del Puente, 
 
 Behrens. 
 An immense house. 
 
 Feb. 24. " AiDA." 
 
 Cast as on the 18th, with the exception of 
 AmbrS in place of Valleria. 
 
 May 5. " Bohemian Girl." 
 
 Miss Abbott, the Seguins, Castle, Miss Gilbert. 
 
( 216 ) 
 
 May 8. "The Chimes or Norjmandy." 
 By the Abbott troupe. 
 
 In November, the Strakosch and Hess English 
 Opera Troupe, at the Opera House, Chestnut Street, 
 gave several performances. Mme. Marie Roze, 
 Carleton, Conly, Peakes, and others sang in "Ai'da," 
 "Trovatore," and " Mefistofele." They also gave 
 " Fra Diavolo " and other operas. 
 
 1881. Jan. 10. "Aida." 
 
 Her Majesty's Opera Company. 
 Mile. Valleria, Cary, Campanini, Galassi, 
 Novara. 
 
 Jan. 11. " Lucia." 
 
 Mme. Qerster, Lazzarini, Galassi, Valerga. 
 
 Jan. 12. " Meeistopele," Boito. 
 
 Valleria, Cary, Campanini, Novara; Mme. 
 Cavallazzi, danseuse. 
 
 Jan. 13. "Martha." 
 
 Gerster, Belocca, Corsini, DelPuente, Ravelli. 
 
( 217 ) 
 
 Jan. 14. "Favorita." 
 
 Cary, Campanini, DelPuente, Monti. 
 
 Jan. 15. " SONNAMBULA." 
 
 Matin4e. 
 
 Gerster, Ravelli, DelPuente; Valerga. 
 
 Jan. 15. " Trovatoee." 
 
 Valleria, Campanini, Cary, Galassi, Monti. 
 
 Jan. 17. " Puritani." 
 
 Gerster, Valerga, Ravelli, Galassi, Corsini. 
 
 Jan. 18. "Don Giovanni." 
 
 Gerster, Valleria, Ravelli, DelPuente, Mme. 
 Swift. 
 
 Jan. 19. " Faust." 
 
 Valleria, Cary, Campanini, Novara. 
 
 April 4. " Les Huguenots." 
 
 DeBeauplan's Grand French Opera Com- 
 pany from New Orleans. 165 artists. 
 Valentine, Mme. AmbrS; Marguerite, Mile. 
 Lablache; Raoul, M. Tournie, Marcel, M. 
 Jowdan. 
 
( 218 ) 
 
 April 5. " La Juive." 
 
 " Faust." 
 " L'Africaine." 
 
 " AlDA." 
 
 " Robert." 
 " Tkaviata." 
 "William Tell." 
 Reserved seats, §1.50. 
 
 Mme. Marie Geistinger's season of German 
 comic opera. 
 Nov. 21. "Boccaccio." 
 
 Mme. Geistinger and her grand company. 
 "Madame Favart." 
 " Die Fledermaus," (The Bat,) Strauss. 
 "La Belle Helens." 
 "Donna Juanita," Suppe. 
 
 Dec. 5. " Traviata." 
 
 Gerster, Giannini, Tagliapietra, Oiapini. 
 
 Dec. 6. "AiDA." 
 
 Maria Leslino, Prasini, Giannini, Oiapini. 
 
 Dec. 7. "Linda." 
 
( 219 ) 
 
 Gerster, Prasini, Perugini, Mancini, Car- 
 boni, B. 
 
 Dec. 8. " Tkovatorb." 
 
 Leslino, Berta Ricci, Qiannini, Oiapini. 
 
 Dec. 9. "Flauto Magico." 
 
 Gerster, Mancini, Lazzerini. 
 
 Dec. 10. "Lucia." 
 
 Gerster, Ciapini. 
 
 Dec. 20 and 23. Mme. Adelina Patti in two grand 
 operatic concerts, supported by Nicolini, 
 and others. 
 
 1882. Jan. 9. "Aida." 
 
 Mile. Paolina Rossini, Campanini, Galassi, 
 Novara. 
 
 Jan. 10. - "William Tell." 
 
 M. Prevost, as Arnoldo; Gallasi, Monti, Mile. 
 Dotti, as Matilda. 
 
 Jan. 11. "Carmen." 
 
 Mile. Hauh, Campanini, ■ Valerga, DelPuente. 
 
.( 220 ) 
 
 1882. Jan. 12. "Huguenots." 
 
 Mile. Rossini, Ravelli, Oalassi, DelPuente, 
 Mile. Lauri. 
 
 Jan. 13. "Trovatorb." 
 
 Hauk, Prevost, T., Cobianchi, C, Galassi. 
 
 Jan. 14. "Lohengrin." 
 
 Matinee. 
 Hauk, Campanini, DelPuente, Monti. 
 
 Jan. 14. "RiGOLETTO." 
 
 Mile. Rossini, Ravelli, Galassi, Monti. 
 
 Jan. 16. " MiGNON. 
 
 Hauk, Emma Juch, Lauri, Campanini, Del 
 Puente. 
 
 Jan. 17. " Martha." 
 
 Mile. Juch, Ravelli, DelPuente, Corsini. 
 
 Jan. 18. "Faust." 
 
 Mile: Rossini, Cam/panini, Novara, Galassi. 
 
 Jan. 19. "Magic Flute." 
 
 Hauk, Mile. Dotti, DelPuente, Monti. 
 
( 221 ) 
 
 Jan. 20. "Il Baebiere." 
 
 Mile. Vachot, Ravelli, DelPuente, as Figaro; 
 
 Monti. 
 
 Jan. 21. "Carmen." 
 
 Matinee. 
 
 The Boston Ideal Opera Company. Wal- 
 nut Street Theatre. 
 Feb. 6. "Fatinitza." 
 
 " Pirates." 
 " Mascotte." 
 " Olivette." 
 
 "Czar and Carpenter." 
 "Pinafore." 
 "Chimes of Normandy." 
 
 April 1. "Traviata" and "Lucia." 
 
 Performed this week by Adelina Patti and 
 Nicolini, at the Opera House, Chestnut 
 Street. 
 
 April 4. " L'Africaine." 
 
 Academy of IVTusic. 
 
 Hauk, Valerga, Campanini, Galassi, Novara. 
 Excellent performance. 
 
( 222 ) 
 
 April 10. " Trovatoke." 
 
 Miss Kellogg, Prasini, Gictnini, Oiapini. 
 
 April 11. " II Baebiere." 
 
 Gerster will introduce " Le Cariiaval cle 
 
 Venise" and Arditi's Polka. 
 Perugini, T., George Sweet as Figaro; Car- 
 bone and Maina. 
 
 April 12. " MiGxox." 
 
 Kellogg, Miss Carrington as Filina; Lan- 
 caster as Federico; Lazzerini, Mancini. 
 
 April 13. " Hajflet." 
 
 Mme. Gerster, Parasini, Ciapini, Lazzerini, 
 Mancini. 
 
 April 14. " Faust." 
 
 Miss Kellogg's farewell to the stage. 
 Miss Kellogg, Miss Van Arnhern, Gianini, 
 George Sweet, Mancini as Mephistopheles. 
 
 April 15. "SONNAMBULA." 
 
 Gerster, Lancaster, Lazzerini, Mancini. 
 
( 223 ) 
 
 April 17. Emma Abbott Grand English Opera Com- 
 pany. 
 "Chimes op Nokmandy." 
 "Martha." 
 " Olivette." 
 "Paul and Virginia." 
 Opera House, Chestnut Street. 
 Madame Theo, supported by Maurice 
 Grau's French Opera Company, six 
 nights, at the Opera House. 
 
 Oct. 2. "L'Archiduc." 
 
 " Mascotte." 
 
 " La Jolie Paefumei:sb." 
 " Les Cloches de Corneville." 
 
 Dec. 7. " The Queen's Lace Handkerchief." 
 
 By Johann Strauss. 
 Miss Post, Miss Matilde Cottrelly, Sig. Peru- 
 gini. 
 
 1883. Jan. 4. " Traviata." 
 
 Academy of Music. 
 Adelina Patti, Nicolini, Galassi, Monti. 
 
 Jan. 5. " AiDA." 
 
( 224 ) 
 
 1883. Mme. Fursch-Madi, Mme. Scalchi, Mierzwin- 
 
 ski, Galassi, Monti. 
 
 Jan. 6. " Lucia." 
 
 Matinee. 
 
 Adelina Patti, Nicolini, Oiampi-Cellaj as 
 Aston. 
 
 Jan. 6. " L'Afkicaine." 
 
 Minnie Hauk, Ravelli, Galassi, Monti, M'lle. 
 Dotti. 
 
 Jan. 8. " GuGLiELMO Tell." 
 
 M'lle. Dotti, Valerga as Jemmy; Mierzwin- 
 ski as Arnoldo; Monti as Walter. 
 
 Jan. 9. " Semiramide." 
 
 Adelina Patti, Mme. Scalchi, Clodio as 
 Idreno; M. Durat as Assur. 
 
 Jan. 10. Faust." 
 
 M'lle. Rossini, Valerga, Ravelli, Durat, B. 
 
 Jan. 11. " Trovatore." 
 
( 225 ) 
 
 Jan. 12. " Linda di Chamouni." 
 
 Mme. Adelina Patti. 
 
 Jan. 13. •' L'Apricaine." 
 
 Farewell matinee. 
 
 M'lle. Rossini as Selika. The other char- 
 acters as on the 6th inst. 
 
 Arditi, Director and Conductor. 
 
 Mar. 25. " Fortunio." 
 
 Produced at the Lyceum. 
 A very pretty and successful comic opera, 
 
 composed by our talented townsman, 
 
 Mr. Francis T. S. Darley. 
 
 April 16. " The Flying Dutchman." 
 First time here in Italian. 
 Mme. Albani as Senta; Ravelli as Eric; Clo- 
 dio as Pilota; Oalassi as L'Olandese. 
 
 April 17. " Semiramide." 
 
 PaMi, Scalchi, Durat, Clodio, Monti. 
 
 April 18. "Lohengrin." 
 
 Mme. Farsch-Madi, FrapoUi, Galassi, Monti, 
 Durat. 
 
(• 226 ) 
 
 1883. April 19. "L'Etoile du Nord." 
 
 Patti, Dotti, Frapolli, Durat, Clodio. 
 
 April 20. " Don Giovanni." 
 
 Mme. Oabriella Boema, Dotti, Scalchi, Ra- 
 velli, Tagliapietra, Corsini as Ijeporello. 
 
 April 21. " Linda." ' 
 
 Matin6e. 
 
 Adelina Patti, Scalchi, Frapolli, Galassi, 
 Monti. 
 
 April 21. " Teovatore." 
 
 Ravelli, Tagliapietra, 3Ime. Boema. Mme. 
 
 Galassi. 
 Patti nights, reserved seats, $5, other nights, 
 
 $3. 
 
 The present is the only year I have not been 
 able to attend the opera since January, 1886, Mis- 
 sing Semiramide last April was the greatest priva- 
 tion of all. 
 
 The phenoraenal popularity of Arthur Sullivan's 
 Operattas is a part of musical history. " Pinafore " 
 was performed at the Academy of Music, April 29th, 
 
( 227 ) 
 
 1879, by the "Church Choir Company," who were 
 quite equal to the requirements of the music. 
 
 The taste for light opera that prevails at present 
 has led to the production of some very enjoyable 
 performances, such as " Boccacio," " Fatinitza," "Mas- 
 cotte" by Audran, "Fortunio" by Darley, " Rip Van 
 Winkle " by Planquette, " Pedro the Minstrel," " A 
 Night in Venice," " The Queen's Lace Handkerchief" 
 and " Prince Methusalem " by Johann Strauss, " lo- 
 lanthe" by Sullivan, "The Beggar Student" by 
 Millocher, " Lieutenant Helene " by Catenhusen, etc. 
 It is not deemed necessary to give the casts of the 
 performers, for although they acted their parts 
 agreeably, they could scarcely claim to be ranked as 
 vocalists of merit. 
 
 We can recall with much satisfaction a list of the 
 distinguished vocalists who have been heard in 
 Philadelphia. In .1847 The Royal Italian Opera, of 
 Covent Garden Theatre, was established under Mr. 
 Frederick Gye. The following were the principal 
 singers : Mme. Grisi, Persiani, Mario, Tamburini, 
 Alboni, (who had just come out), Salvi, Ronconi, 
 Rovere, and Marini. Of these nine artists, seven 
 have been heard on the operatic stage in this city. 
 In 1869 the Royal Italian Opera prospectus was 
 issued conjointly by the directors of the Royal Ital- 
 
( 228 ) 
 
 1883. ian Opera and of Her Majesty's Theatre. The com- 
 pany included Mme. Patti, Nilsson, Lucca, Murska, 
 Titiens. Mongini, Naudin, Tamberhk, Graziani and 
 Santley. Eight of these ten vocaUsts have sung in 
 our Academy of Music, with the exception of Gra- 
 ziani, who sang at the Chestnut Street Theatre in 
 1854 and has ever since been retained in Europe. 
 
 When we add to these, the charming Bosio, Son- 
 tag, Badiali, Maurel, and Albani, without going 
 further back than the Havana Troupe, it must be 
 acknowledged that we have heard the larger portion 
 of the greatest vocalists of the present century. 
 
 Some of the most distinguished artists possessed 
 many accomplishments independently of the re- 
 quirements of their profession. Malibran sang in 
 Spanish, Italian, French and English, and spoke 
 fluently , these four languages, and she also had 
 some knowledge of German. At Brussels, she was 
 applauded as a French Rosina, delivering the prose 
 of Beaumarchais as Mademoiselle Mars would have 
 delivered it. She drew in water colors, was ac- 
 complished in horsemanship and driving, and all 
 agree that she was as charming in her character as 
 she was in her manners and conversation. ._ I have 
 heard Madame LaGrange sing in Italian and Ger- 
 man in the same opera. The Germans who were 
 
( 229 ) 
 
 singing with her, sang in their own language ; when 
 it came to a duet, her good taste induced her to 
 sing it in their language. Lablache, beside his 
 other talents, could whistle equal to the best piccolo 
 performers ; he was also an excellent contra-bassist. 
 He had excellent manners and a fine presence ; was 
 very well informed, and possessed . a cultivated 
 literary taste. We have seen how Tamburini's 
 varied accomplishments were fully recognized at 
 Palermo. 
 
 The extensive musical library of Mr. Joseph W. 
 Drexel, formerly of this city, but now residing in 
 New York, is probably the most complete private 
 collection in existence. It was at first formed by 
 the union of the libraries of H. F. Albrecht and of 
 the late Dr. R. LaRoche, of Philadelphia, and aug- 
 mented by importations from Europe. In the 
 printed catalogue of 1869, the number of works was 
 1,536, and of volumes, 2,245. Mr. Drexel informs 
 me, that since his first catalogue appeared, he .has 
 nearly trebled the number of his books. He has 
 added the cream of noted collections in London, 
 Dresden, Berlin, and of all others that were obtain- 
 able. He has made New York his permanent re- 
 sidence, and his collection will at his death be 
 
( 230 ) 
 
 deposited in one of the most distinguished libraries 
 in that city. Our loss is therefore New York's gain. 
 
 Rossini died in Paris, November 14th, 1868. 
 The funeral service took place at the new church, 
 La Trinity. Around the organ stood Mesdames 
 Patti, Alboni, Nilsson, Krauss, Bloch and Ugalde. 
 The most remarkable among the gentlemen were, 
 Tamburini, Duprez, Roger, Nicolini, Agnesi, Gar- 
 doni, Lefont and Faure. The right of the organ 
 was filled by the choruses of the Conservatoire. 
 Tamburini's son acted as master of ceremonies. 
 The " Quis est homo " from Rossini's Stabat Mater 
 was sung by Alboni and Patti; the prayer from 
 "Moses" was sung, and after singing the "Supplica- 
 tion" the body was conveyed to Pare la Chaise. 
 Many of the most distinguished people of France 
 and Italy were present. 
 
 It is commonly said that the opera cannot be 
 maintained, except under a monarchial govern- 
 ment. In England, the ruler under whom opera 
 was introduced, was Oliver Cromwell. Opera in 
 the true sense of the word, that is to say. Opera 
 Musicale, or dramatic work in music, was not 
 firmly established till Handel's time, when it was 
 
( 231 ) 
 
 aided b}- a subscription of" fifty thousand pounds 
 raised for it by the aristocracy. 
 
 Oliver Cromwell granted to Sir William Dave- 
 nant permission to open a theatre for the perform- 
 ance of operas. Antony k Wood says, that " though 
 Oliver Cromwell had prohibited all the other 
 theatrical representations, he allowed of this, be- 
 cause being in an unknown language it could not 
 corrupt the morals of the people." The " unknown 
 language " was simply music which, as the language 
 wherein for the first time in England the chief busi- 
 ness of a five-act drama was to be conducted, may 
 well have appeared unintelligible. 
 
 Hogarth says, Davenant's " Siege of Rhodes " was 
 performed at Rutland House in 1656. Pope says, 
 this was the first opera sung in England. Evelyn, 
 in his Diary, 1662, January 9th, says : "I saw acted 
 the second part of the ' Siege of Rhodes.' It was in 
 recitative musiq !" 
 
 Oliver Cromwell was a lover of music. It is 
 known that he engaged Hingston, a celebrated 
 musician, formerly in the service of Charles, at a 
 salary of one hundred a year. Antony^ Wood tells 
 the following story of Cromwell. "James Quin, one 
 of the senior students of Christ Church, with a bass 
 voice, 'very strong and exceedingly trouling,' had 
 
( 232 ) 
 
 been turned out of his place by the visitors ; but, 
 "being well acquainted with some great men of 
 those times that loved music, they introduced him 
 into the company of Oliver Cromwell, the protector, 
 who loved a good voice and instrumental music 
 well. He heard him sing with great delight, 
 liquored him with sack, and in conclusion, said: 
 ' Mr. Quin, you have done well, what shall I do for 
 you?' to which Quin made answer: 'That your 
 Highness would be pleased to restore me to my 
 student's place,' which he did accordingly." 
 
 There have been many complaints in the Eng- 
 lish newspapers lately, that the exorbitant salaries 
 obtained in this country by distinguished vocalists 
 have a disastrous effect on the opera in England, 
 and that the managers have rebelled against the 
 demands of the artists. The feeling of the opera- 
 going public appears to be with the managers. It 
 is evident that at the rate of five thousand dollars a 
 night for a single artist, it would be impossible to 
 produce works which require several principal 
 vocalists, "The Huguenots," for instance. Those 
 who are fond of the opera and have some knowl- 
 edge of music, will much prefer to have all the parts 
 respectably filled, even if not by the most brilliant 
 stars of the period, than to hear but one good 
 
( 233 ) 
 
 singer, at the sacrifice of all the concerted pieces, 
 and the ensemble of the opera. 
 
 Of the Italian companies who visited this coun- 
 try, the first was that of Garcia, who opened a 
 season of opera in New York, November 26th, 1825. 
 
 In Philadelphia, the first Italian opera troupe 
 was the Montresor company, which opened in Jan- 
 uary, 1833, at the old Chestnut Street Theatre. 
 
 In Boston, the first Italian opera company was 
 the Havana Troupe, in 1847, with Signorina Te- 
 desco, Perelli, Vita, and others. This company per 
 formed in New York and Philadelphia. Sefloi 
 Marty, of Havana, brought his troupe to the United 
 States annually till 1851, at which time it was prob- 
 ably equal to any opera company in Europe. The 
 orchestra was led by Arditi; and Bottesini, the 
 greatest contra-bassist that has ever lived, was the 
 maestro of the company. 
 
 From about 1848 until recently, Messrs. Max 
 Maretzek, Strakosch, Ullman, and Maurice Grau, 
 visited Europe and brought out companies of vari- 
 ous degrees of merit and met with different degrees 
 of success. 
 
 In 1878, Mr. Mapleson brought to this country 
 Her Majesty's Opera Company, consisting of some 
 excellent performers, and has met with success suf- 
 ficient to induce his annual return. 
 
ADDENDA. 
 
 There were some public performances of opera at Concert 
 Hall, Chestnut Street, in 1866, mostly by amateurs, which were 
 of sufficient merit to be noticed. 
 
 1866. Feb. 6. " Clarissa Harlowe," 
 
 CompoEsd by Sig. PereMi. 
 Miss Hewlett, a fresh soprano with good low notes ; 
 Charles M.SchmUz, T., Alfred Durand, Bar., Mr. 
 Horace Nathans, B. 
 This opera was first produced in Vienna. 
 
 Feb. 20. " Luorezia Borgia." 
 
 Mrs. Davis, Miss Denagre, Mr. Waterman, Mr. Taylor. 
 Conductor, Sig. Perelli. 
 
 March 2. " Maria di Eohan." 
 
 Miss Cowtin, Miss Denagre, Waterman and Durand. 
 
 April 16. "Linda." 
 
 Miss Hewlett, Mr. Durand. 
 Both were good. 
 
 May 19. " La Favorita." 
 
 Sip. Perelli as Fernando; Mrs. Davis, Miss Poole, Messrs. 
 Angier and Taylor. 
 
 Dr. Camac, of this city, has furnished me with the following 
 list of performances at the Amateur Drawing Room. 
 
( 236 ) 
 
 AMATEUR DRAWING ROOM OPERA. 
 
 1868. June 19. "Doctor of Alcantaea." 
 
 Alessrs. Gilchrist, Bamhurst, Bishop, Bumham and 
 
 Barrett. The Misses Oregory, Gilchrist and Barrett. 
 All those were members of " Our Musical Society,'' 
 
 West Philadelphia. 
 
 Oct. 29. " Doctor op Alcantara." 
 
 Messrs. Gilchrist, Hessenbruche, Bishop, Bumham, 
 
 Krien and Mcllvain. The Misses Slater, Gilchrist 
 
 and Barrett. 
 All of " Our Musical Society," as above. 
 
 April 28. " Doctor of Alcantara." 
 
 The three Misses Durang, of the " Philadelphia 
 Opera Company," also Messrs. Bishop, Gilchrist, 
 Khorr, Van Horn, Neel and Leba. Stage director, 
 W. G. Dietrich. 
 
 May 7. " Les Noces de Jeannette.'' 
 
 Miss Scliaumberg. Messrs. D'Epineuil, H. A. Broxun 
 and Eustis. 
 
 May 15. " Les Noces de Jeannette." 
 
 Dec. 2. " Two Cadis." 
 
 Mme. J. Schimpf, Messrs. Bishop, Gilchrist, and the 
 two Bamhursts. 
 
 Dec. 23. " Doctor of Alcantara." 
 
 Miss Poole, Mme. Schimpf, and an unknown. Men 
 as above. 
 
 Dec. 28. "Le Chalet." 
 
 The Misses Fredonia and Naomi Durang and Misses 
 
 Save and Breton with Mr. G. T. R. Knorr. 
 Same evening was given : 
 
( 237 ) 
 
 " LiSCHEN AND FeITZCHEN." 
 
 Miss Durang and Mr. Bradshaw. 
 
 1870. Jan. 19. " The Two Cadis." 
 
 Mme. Schimpf, Messrs. CHlchrist, Bishop and Barnhurst. 
 
 Jan. 25. " Lischbn and Fritzchen." 
 
 Miss Durang and Mr. Bradshaw. 
 Followed by : 
 
 Jan. 25. " Le Chalet." 
 
 Same cast as December 28th, 1869. 
 
 Feb. 16. "The Contrabandista." 
 
 Mme: Schimpf , Miss Poole, Messrs. Q. Bishop, Gilchrist, 
 and the brothers Barnhurst. 
 
 April 20. "The Son and Stranger." 
 
 Mendelssohn's only opera. 
 Mme. Schimpf, Miss Poole, Messrs. Oilchrist, H. R. 
 
 Barnhurst, G. Bishop, and full chorus. 
 Same evening : 
 
 " Love in Lodgings," Sullivan. 
 
 Bishop, Barnhurst and Gilchrist. 
 
 Oct. 7. " Pri.ma Donna for a Night." Offenbach. 
 
 Benefit of Mrs. Pyne Galton and Miss Maggie 
 
 Harold. 
 Mrs. Galton, Misses Cleveland and Harold, Messrs. J. 
 
 Rogers, C. N. Drew, L. Reuben and Murphy. 
 Followed by selections from : 
 "Fra Diavolo." 
 By same party. 
 
 1871. Jan. 12. " Love in Lodgings." 
 
 Same cast as April 20th, 1870. 
 
( 238 ) 
 
 Nov. 7. '' The Widow's Retreat." Gabriel. 
 
 The Durang opera company. 
 
 Nov. 10. " The Pet Dove/' Oounod, and " Fashion," Levy- 
 By same company. 
 
 The performers in the above, and what follow by 
 this company, were the three Misses Durang, 
 Mrs. Miriam Ashton, Mrs. Emma Francis, the 
 Misses E. Gilbert, H. Gleason and F. Lee, witji 
 Messrs. T. Vernon (tenor), /. Homer (baritone), 
 W. Moyer (tenor), and T. A' Beckett, Sr., Mr. W. 
 G. Dietrich, director and conductor. 
 
 Nov. 14. No programme. 
 
 Nov. 17. No programme. 
 
 Nov. 21. "The Rose of Savoy," Bordese. — "Fashion," Levy. 
 
 Nov. 24. No programme. 
 
 Nov. 28. " The Image," Gabriel, and " The Rose op Savoy." 
 
 Beside the operas mentioned above, the Durang company 
 gave: 
 "The Bride op Song," Bmedirt. 
 
 "The Rival Beauties." 
 
 " The Soldier's Legacy," McParren. 
 
 "The Signal," Offenbach. 
 
 Dec. 27. " The Widow's Retreat,'' and " The Image." 
 
 Complimentary benefit to the Misses Durang by 
 above company. 
 
 1872. Jan. 1. " Monsieur Choupleuei," and 
 
 "La Rose de St. Flour." 
 
( 239 ) 
 
 1872. Jan. 2. " Monsieur Choupleuri,'' and 
 
 " 66, OB, The Lottery Ticket." 
 
 Jan. 3. " Monsieur Choupleuri," and 
 
 "LiSCHEN AND FrITZCHEN." 
 
 Jan. 5. " Monsieur Chouflbhri," and 
 
 "La Rose de St. Flour." 
 
 The above four representations were given by the 
 Susan Galton Operatta Company; this included 
 herself {Mrs. Kelleher,} and Mrs. Sophia Mozart, 
 Messrs. Arnold, Kelleher, Davenport, Homer and 
 Caldwell. 
 
( 241 ) 
 
 THE AMERICAN ACADEMY OF MUSIC. 
 
 Until the erection of the Academy of Music, Philadelphia 
 had no building that was planned and built for the, especial 
 production of Opera; In 1847 the " Havana Italian Opera Com- 
 pany," with Tedesco and Perelli, performed at the Walnut Street 
 Theatre. When Bosio and Salvi first appeared here in 1850, 
 they sang in the Old Chestnut Street, and afterwards in the 
 "National Theatre," Chestnut and Ninth Streets. These houses 
 were selected as the best then existing in the city. The neces- 
 sity of an Opera House of the first class, constructed expressly 
 for the performance of lyrical drama, became so obvious that it 
 was frequently discussed by our more intelligent and public 
 spirited citizens. Early in 1851 the following call for a meeting 
 on the subject was privately issued. The meeting was called 
 by Mr. Geo. S. Pepper and Jos. Beese Fry, but without signa- 
 tures : 
 
 " A few gentlemen, considering the present a favorable time 
 to attempt the erection of an Operatic and Dramatic House, 
 propose to hold an informal meeting in the small saloon of the 
 Assembly Building, on Wednesday evening next, the 19th inst., 
 at 7.30 o'clock, for the purpose of consulting on the project. At- 
 tendance at the meeting will involve no committal to its ob- 
 ject. Your presence is therefore solicited with this understand- 
 ing. Information respecting the lot, the plan of building, etc., 
 will be laid before the meeting. It is believed that a commo- 
 dious and respectable place of public amusement, is now de- 
 manded in Philadelphia, not only for the pleasure, but for the 
 interests of the community, as a means of attracting strangers, 
 and increasing its general business. 
 
 " The proposed meeting will be considered private, as for 
 certain reasons the enterprise might be defeated, if now made 
 public. The attendance of any of your friends, who you may 
 suppose will feel an interest in the project, is also requested." 
 
 "Philadelphia, February IS, 1851." 
 
 After many efforts to raise the necessary funds, a charter 
 was obtained dated May 4th, 1852, and 'the following Commis- 
 
( 242 ) 
 
 sioners were appointed " to receive subscriptions to the stock 
 of the American Academy of Music to the amount of 4,000 
 shares :" 
 
 Joseph E. Ingersoll, George M. Dallas, Henry D. 
 Gilpin, Jno. M. Scott, Chas. Henry Fisher, Joseph 
 Swift, Robert Morris, Jno. Rea Barton, J. Price 
 Wetherill, Geo. Cadwalader, Edw. S. Buckley, J. 
 V. S. De Havilland, Chas. Harlan, Chas. Wells, 
 Hartman Kuhn, Jr., Aubrey H. Smith, Chas. E. 
 Smith, Geo. McHenry, Geo. H. Boker, Emlin 
 Physick, Wm. Parker Foulke, Jas. C. Fisher, Jas. 
 McMurtrie, Frederick Lennig, Gideon G. West- 
 cott, J. K. Mitchell, Jno. B. Myers, J. Pemberton 
 Hutchinson, Jno. H. Hugenell, and John Siter. 
 In October, 1854, the Board of Directors invited architects 
 to prepare plans for an Opera House to be erected at the south- 
 west corner of Broad and Locust Streets. The external dimen- 
 sions of the building were to be 140 feet on Broad Street by 
 238 on Locust ; to be of brick with brown stone dressings, etc. 
 The ablest artists of Philadelphia, New York and Boston en- 
 tered the contest. On the 15th of December, 1854, designs, fif- 
 teen in number, were received by the building committee, con- 
 sisting of the following gentlemen : 
 
 Jno. B. Budd, President of the Board of Directors ; 
 Geo. S.' Pepper, Chairman of Building Commit- 
 tee ; Fred. Graff, Sam. Branson, Jas. C. Hand, 
 Jno. P. Steiner, who, together with the following 
 gentlemen, constituted the Board of Directors : 
 Chas. Henry E'isher, Isaac Waterman, James 
 Traquair, Lyon J. Levy, Ferd. J. Dreer and Fair- 
 man Rogers. 
 After a long and careful examination of the plans, sections 
 and elevations, the committee decided in favor of the one sub- 
 mitted by Messrs. N. Le Brun & G. Runge, architects of Phila- 
 delphia. The committee determined not to enter into any 
 contracts for the erection of the building before the requisite 
 amount of stock ($250,000) was fully made up. This being ac- 
 
( 243 ) 
 
 complished, the ground was broken on the 18th of June, 1855, 
 and the corner-stone laid on the 26th of July following. Mayor 
 Robert T. Conrad delivered an address on the importance of 
 the enterprise, and the beneficial results anticipated from it. 
 A shower passed over the assemblage during the ceremony, 
 and was succeeded by a beautiful rainbow, — which was poet- 
 ' ically alluded to by the Mayor, and was accepted as an omen 
 of success. 
 
 The building was constructed and completed within the 
 space of nineteen months. 
 
 The auditorium is 102J feet long, 90 feet wide and 70 feet 
 high. The stage is 72J^ feet deep, 90 feet wide and 70 feet high. 
 The seating capacity of the auditorium is 2,900. 
 
 The best authorities, American as well as European, declare 
 that in the following points the building is unrivalled, namely : 
 
 1. Facilities of exit from all parts of the house. 
 
 2. Perfect view of the stage throughout the audi- 
 
 torium. 
 
 3. Perfect ventilation. 
 
 4. In acoustic properties it is not excelled. 
 
 DiRECTOES OF THE ACADEMY OF MuSIC PROM ITS ORGANIZATION 
 
 TO THE Present Year, 1883. 
 
 Geo. Cadwalader, 1853. Fredk. Graff, 
 
 Chas. H. Fisher, 1854. H. M. Hildeburn, 
 J. P. Hutchinson, Fairman Rogers, 
 
 Jno. B. Budd, • 1855. Nathan Taylor, , 
 
 Jos. Swift, Thos. Sparks, 
 
 Isaac S. Waterman, Jas. L. Claghorn, 
 
 Saml. Branson, D. Haddock, Jr., 
 
 W. Parker Foulke, Wm. Camac, 
 
 F. McMurtrie, H. M. Phillips, 1872. 
 
 Jas. C. Hand, 1858. Chas. Norris, Jr., 
 Ferdinand J. Dreer, Seth I. Comly, 
 
 L. J. Levy, C. S. Lewis, 
 
 Jas. Traquair, Saml. B. Thomas, 
 
 Jno. P. Steiner, Alfred G. Baker, 
 
 <jreo. S, Pepper, S. Decatur Smith, 
 
( 244 ) 
 
 Ludovic C. Cleeman, 
 Anthony J. Drexel. 
 
 When a date is added to a 
 
 name it signifies that the gen- 
 tleman was elected President 
 in that year. For instance Mr. 
 Hand was elected in 1858 and 
 served till he resigned in 1872. 
 
 Crimson Interiors obtain in the following theatres : 
 Antwerp, Berlin, Bordeaux, Cairo, Constantinople, Copen- 
 hagen, Dublin, Frankfort, Genoa, Geneva, Hamburg, Hanover, 
 Naples, London, Messina, Moscow, Munich, Paris, (Opera), 
 Philadelphia, Stockholm and Vienna. Fenice at Venice, is 
 pure white Persian and gold. Turin, black and crimson. St. 
 Jago. crimson and gold fleur de lys. Prague, white. Moscow, 
 amber. Mayence, yellow and gold, bordered with crimson vel- 
 vet. Pergola, Florence, gray and gold. Amsterdam, rich brown 
 and gold. Metropolitan, New York, light yellow. 
 
 Capacity of Principal Theatres. 
 Mons. Gamier, architect of the New Paris Opera House, was 
 furnished with the official returns from all- the principal thea- 
 tres of Europe, carefully drawn, with dimensions, arrangement 
 etc., from which he prepared the following returns of their 
 seating capacity : 
 
 
 Persons. 
 
 
 Persons. 
 
 San Carlos, 
 
 3,000 
 
 Turin, 
 
 2,000 
 
 Drury Lane, 
 
 3,060 
 
 Antwerp, 
 
 1,830 
 
 La Scala, 
 
 3,000 
 
 Paris, (old Opera), 
 
 1,783 
 
 Covent Garden, 
 
 2,500 
 
 St. Petersburg, (grand 
 
 DubUn, 
 
 2,490 
 
 theatre). 
 
 1,773 
 
 Vienna, 
 
 2,406 
 
 Berlin, 
 
 1,736 
 
 Munich, 
 
 2,300 
 
 Stuttgart, 
 
 1,750 
 
 Lisbon, 
 
 2,000 
 
 Mayence, 
 
 1,675 
 
 Genoa, 
 
 2,000 
 
 Hamburg, 
 
 1,300 
 
 Felice, (Venice), 
 
 2,000 
 
 Bordeaux, 
 
 1,300 
 
 Copenhagen, 
 
 1,400 
 
 Metropolitan, N. Y. 
 
 3,064 
 
 New Paris Opera, 
 
 1,811 
 
 Academy of Music, 
 
 Hanover, 
 
 1,900 
 
 Philadelphia, 
 
 2,900 
 
 St. Petersburg, 
 
 1,840 
 
 
 

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( 247 ) 
 
 MUSICAL SOCIETIES AND CONCERTS. 
 
 In an article by AV. Barclay Squire, written for Grove's Dic- 
 tionary of Music, 1880, he says : " Philadelphia is remarkable 
 among the cities of the United States for its vigorous musical 
 life. No less than 65 societies for the active practice of music 
 exist within its precincts." Then follows a list of societies 
 with the names of the conductors. Among these is the " jNIu- 
 sical Fund Society " which is the oldest of them all. It was 
 incorporated February 29, 1820; in the words of the charter, 
 " for the relief of decayed musicians and their families, and 
 the cultivation of skill and diflfusion of taste in music." Among 
 the gentlemen who organized the society were Dr. AVm. P. De- 
 wees, Dr. Robert M. Patterson, John K. Kane, Charles Hup- 
 feld, Benjamin Carr, Benjamin Cross, George Campbell, Frank- 
 lin Peale, Francis Gurney Smith, Red. S. Smith and Wm. 8. 
 Smith. They at first met in "Carpenter's Hall," Chestnut 
 Street. Their new hall in Locust Street, near Eighth, was 
 opened to the public with a grand concert on the evening of 
 December 29th, 1824 ; on which occasion, among other pieces, 
 Handel's " Dettingen Te Deum " was performed by the Society. 
 In 1847 the Hall was enlarged by adding 20 feet to the length 
 of the building, and the stage was removed from the north to 
 the south end of the hall, and fortunately its exceptionally 
 good acoustic properties were not impaired. Many of the most 
 distinguished artists of the last sixty years, both vocal and in- 
 strumental, sang or played in this Hall. Among them were 
 Malibran, Cinti Damoreau, Fanti, Bordogni, Artot, Montresor,. 
 Fornasari, Sivori, Jenny Lind, Bosio, Alboni, Sontag, Catharine' 
 Hayes, Grisi and Mario. 
 
 During thirty years the Society gave about 100 concerts.. 
 As the city continued to extend westward, the Hall became too 
 remote for convenience, and consequently the rental fell off. 
 In order to keep faith with their life subscribers, concerts were 
 given at a serious pecuniary loss. In 1847 the late Mr. Pierce 
 Butler induced many of the leading ladies of the city to aid in 
 an amateur concert for the benefit of the Society. The Orches- 
 tra of the Musical Fund has always been composed of profes- 
 
( 248 ) 
 
 sional musicians, aided by a few efflcient amateurs. The ama- 
 teur members were Messrs. Pierce, Butler, flute; Cornelius 
 Hewitt, cello ; J. L. Laffitte, double bass ; Robert Patterson, 
 viola ; Alfred Durand, triangle. Only the two last of these 
 gentlemen survive. 
 
 The " St. Cecilia Society " was established in 1824. Among 
 the members were James B. Longacre and Elijah Dallett. 
 
 The " Anacreontic Society " was organized about fifty years 
 ago. Some thirty-five years since, I used to hear some of the 
 members speali of their meeting at each other's houses at that 
 time. They were all elderly gentlemen. Among them were 
 Franklin Peale, Elijah Dallett, Benjamin Cross, William Nor- 
 ris and AV. H. W. Darley. They have all passed away. 
 
 The " Philharmonic Society," was probably organized about 
 • the same time as the "Anacreontic." Many of their concerts 
 will have place in the list which follows. This Society was 
 composed of amateurs, for the practice of instrumental music, 
 and was led by a professional musician. They gave concerts 
 for many years, and engaged the best available talent, both 
 vocal and instrumental. The Society ceased to exist several 
 years ago. 
 
 There were many musical societies known to us only by the 
 advertisements of the newspapers of that period, such as : 
 
 ^SS^- "The Apollo," — Concerts. 
 
 1834. Philadelphia Glee Association, — Concerts. 
 
 1835. The Philadelphia Sacred Music Association 
 
 gave concerts. These societies appear to have ex- 
 pired in their youth. 
 
 1848-9. "The Junto." 
 
 Dr. R. M. Patterson, President.- Lady Patroness, 
 Mrs. Hartman Kuhn. 
 
 This was a society of about 30 members. Each member 
 
( 249 ) , 
 
 was entitled to a limited number of tickets for presentation to 
 friends. It was strictly an amateur club of ladies and gentle- 
 men ; the leader was chosen from among their own members. 
 Of 60 pieces sung during the season, more than one third were 
 from operas that had never been performed in Philadelphia. 
 
 1849 -50. " Amateue Musical Soieees." 
 
 This Society was composed of about seventy ladies and gen- 
 tlemen, amateur vocalists, who were accompanied by a full 
 orchestra of the best professional musicians of Philadelphia. 
 The entire direction of the music was under Signer Perelli. 
 The concerts were given at the Musical Fund Hall, and none 
 but the subscribers were admitted. 
 
 Of all the above Musical Associations, the only one that 
 survives is the '• Musical Fund Society." 
 
 The following concerts are selected, either for their musical 
 merit, or to fix the date of the appearance of certain artists, 
 or the introduction of certain instruments, as the Sax Horns, 
 or for some peculiarity, as the " Hungarian Singers." 
 
 1824. Among the earliest concerts of the " Musical Fund Society " 
 was that given' on the occasion of the opening of their new 
 hall, Dec. 29th, 1824. 
 
 Handel's "Dettingen Te Deum " and other pieces were per- 
 formed by the Society. 
 
 1826. Nov. 16. " Twelfth Concert of the Musical Fund Society." 
 
 The Misses Gillmgham and Mr. Paddon. 
 
 1827. June 16. " First appearance of Madame Malibran in Philadel- 
 
 phia. Musical Fund Hall. The Signorina will 
 give a miscellaneous concert." 
 
 PART I. 
 
 Overture, Mozart. 
 
 Aria, " Che fara," Signorina. 
 
 " "Batti, batti," Signorina. 
 
( 250 ) 
 
 accompanied by Mr. Gilles on the violoncello. 
 
 " Home, Sweet Home," ■ Shjuorina. 
 
 Minuetto, Haydn. 
 
 PART II. 
 
 (Overture, Haydn. 
 
 Song, "The Light Guitar," Sif/norhia. 
 
 Solo, violoncello, accompanied by Siguorhia. 
 
 "Xel cor piu non mi Sento," with variations, by S'ujiioruia. 
 
 " Di tanti palpiti," Signoriua. 
 
 Leader, Mr. Hupfdd. Piano, Mr. DaOmiuclc. 
 
 Admission, |2. 
 
 Prom Poulson's America)i Daily Advertiser. 
 
 The Signorina's second concert will be given at the new 
 tlieatre (Chestnut Street Theatre), on Saturday evening, June 
 23d, 1827. 
 
 PART I. 
 Overture to the Barbiere di Seviglia, in character, 
 •" Una voce poco fa," Kigiiorbin. 
 
 Aria, Rossini, Sig. liosiclt. 
 
 " Home, Sweet Home," Slgii.ori.n.a. 
 
 Duette, " Mille Sospiri Lagrime," by Rossini, 
 
 Mr. Bdj/lr and Signorina. 
 French song, "Tallarala," Signorina. 
 
 Aria, Buffo, Sig. Rosich. 
 
 PART II. 
 
 ■" When William Tell." Signoriiin. 
 
 Spanish song, by Garcia Sig^iorina. 
 
 Duetto, " Con Pazzienza." Higiiorina and RoKirh. 
 Overture, Tancredi, in character, 
 
 " Di tanti Palpiti,', iSignoriim. 
 
 Duo, " Alvivo lampo," Signoriua and Mr. Boyle. 
 
 The " Signorina " was the pet name of M'lle Garcia in New 
 York. January 10th, 1827, the United Stales Gazette says: "the 
 lirst appearance of Madame Malibran, the Garcia, at the Bow- 
 
( 251 ) 
 
 ery Theatre is postponed until the loth inst." Jan. 17th 
 " The ' Signorina ' played Count Belino, on the 15th, and will 
 make her second appearance in English Opera on Friday." 
 
 1833. March 7. , " Oeatokio of Moses in Egypt." 
 
 Sig,' Fornasari, Corsetti, Pedroili ; Signorine Pedrolli 
 
 and Saccomani. 
 Musical Fund Hall. 
 
 Nov. 28. Musical Fund Society's Concert. 
 
 Mrs. Austin, Mr. Ch(.-<.vnaii, clarinet: and Mr. Trust, 
 on the harp. 
 
 Nov. Anacreontic Society's Concert. 
 
 First ladies' night this season. 
 
 W. H. W. Darley, Secretary. 
 
 Anacreontic Society. 
 Ladies' night. 
 
 Philadelphia Glee Association. 
 Sig. Vai will perform on the mandolin and guitar. 
 
 " The Apollo " — (Concert.) 
 Darley, Treasurer. 
 
 Concert. 
 Mr. and Mrs. Wood and Mr. Walton. 
 
 Musical Fund Society's Thirty-firs* Concert. 
 Mr. and Mrs. Wood ; Mr. Taylor on the piano. 
 
 April 17. Grand Musical Festival. 
 
 Duo from Cornicero's Opera, '' Adele di Lusignano;" 
 Signors Fabj and Porto. 
 
 May 8. Benefit op Sig. Willext. 
 
 Musical Fund Hall. 
 
 1834. Jan. 
 
 7. 
 
 Jan. 
 
 10. 
 
 Jan. 
 
 
 Feb. 
 
 18. 
 
 Feb. 
 
 26. 
 
( 252 ) 
 
 Scena of Vacqaj, Fabi, T., Duo from " Semir amide," 
 Bordogni and Porto; Duo, Fanli and Eavaglia. 
 
 Oct. 8. IMe. ^'orton'.s Concert. 
 
 Musical Fund Hall. 
 
 Miss Watson's first appearance; Mrs. Franklin, Mr- 
 Archer. Norton was trumpeter to the First Troop 
 of Philadelphia for some j'ears. 
 
 1835. Jan. Philadelphia Sacred Music Society's Concert. 
 
 Jan. 29. Philhakjionic Society's Concert. 
 
 " Oratorio of the Seasons." 
 
 Feb. 4. Musical Fund Society's Concert. 
 
 Miss f]'(itson, Mr. Hupfeld, Hainia. 
 
 April 30. Musical Fund Society's Concert. 
 
 " Oratorio of the Seasons.'' 
 
 1836. March 23. Musical Fund Society's Concert. 
 
 Mrx. and Miss Watson, C. Horn, Jr., Hupfeld. 
 
 May II. Vocal Concert. 
 
 Musical Fund Hall. 
 
 Mr. and Mrs. Wood, Brough and Walton. 
 First part of " Sonnambula ; " chorus and orchestra 
 of the Chestnut Street Theatre. 
 
 Oct. Grand Concert. 
 
 Musical Fund Hall. 
 Signors Gamhaii, Cioffi, Fabj and Mdme. Otto. 
 
 Dec. 30. " The Apollo,'' Soiree Musicale. 
 
 Hupfeld, Reinhart, Schmitz, B. C. Cross. 
 
 W. H. W. Darley, Treasurer. 
 
( 253 ) 
 
 1837. Jan. 18. Mr. Chas. Seltz, from Vienna, will give a grand con- 
 
 cert at the Musical Fund Hall. Messrs. Keyset, 
 Meignen, Peile,A. Scliiiiitz, Huttner, Cross and Seitz 
 on the violin. Misses Watson and Charlotte Ford. 
 
 Feb. 7. Musical Fond Society's Concert. 
 
 Mrs. Gibbs (formerly Miss Gradden, noted in Eng- 
 land for her pretty figure, when young). Hupfeld, 
 Director. 
 
 May 11. Hexby Russell's Concert. 
 
 Masonic Hall. 
 
 " Some Love to Roam,'' " Come Brothers, Arouse," 
 etc. 
 
 Oct. 17. Concert. 
 
 Musical Fund Hall. 
 Sig.Paggi,0\>oe; Signora Ruiz- Garcia, sister of the 
 
 late Mrs. Malibran, Valtelina, B., Miss Charlotte 
 
 Ford and Rosselti. 
 
 Concert by the 
 Oct. 20. Prague Company 
 
 of nine Professors of Music. 
 Overtures, "William Tell," etc. 
 
 Oct. 31. Concert. 
 
 Sig. Gambati, Mrs. Watson, Signora Maroncelli. 
 
 Oct. Dempster's Ballad Concerts. 
 
 1838. Feb. 23. Concert. 
 
 Arch Street Theatre. 
 Caradori-Allan, Sig. Fabj, Brough. 
 
 March 26. Caradori-.\i.lan Coxcekt. 
 
 Musical Fund Hall. 
 
( 254 ) 
 
 June 7. Concert. 
 
 Musical Fund Hall. 
 Sig. Fornasari, Fchj, Broiigh. 
 
 Oct. 17. Sig. De Begnis' Concert. 
 
 Dec. 1. Frank Johnson will give musical soirees during 
 
 Christmas week at the Philadelphia Museum, on 
 
 the plan of Musard's, Paris. Admission, 25 c^nts. 
 
 Prank Johnson was a negro ; his band was quite 
 
 celebrated. 
 
 1839. Feb. 22. Concert. 
 
 Chinese Museum, Ninth and Sansom. 
 Miss Mary and Rosina Shaw. 
 
 March 28. Concert. 
 
 Assembly Buildings. 
 /. P. Knight, Composer. 
 " She Wore a Wreath of Eoses," etc. 
 
 Oct. 30. Jno. T. Norton's Concert. 
 
 Musical Fund Hall. 
 
 Mrs. Segnin, Mrs. Bailey, Knight, Seguin, Baron R. dg 
 Fleur, Pianist. 
 
 Nov. 27. First Grand Concert. 
 
 Miss Shireff and Mr. Wilson. 
 
 Philadelphia Museum, Ninth and Sansom Streets. 
 I 
 
 Dec. 3. Musical Fund Societv's Concert. 
 
 Mr. and Mrs. Seguin, Miss Pardi, on the Harp ; Sig. 
 Ribas, on the Oboe; Huttner, Jg,rvis, Oambati, 
 Meignen. 
 
 Dec. 20. Grand Vocal Concert . 
 
 Museum, Ninth Street. 
 
( 255 )■ 
 
 Xhe four Hungarian Singers. Vocal Overture, in 
 which they will introduce imitations of, instru- 
 ments, viz., Flute, Clarionet, Trombone and Bas- 
 soon. Aria, " Di tanti palpiti," and march from 
 " Puritani ; " staccato echo, by Mr. Kosen. 
 
 1840. Jan. 6. Concert. 
 
 Museum, Ninth Street. 
 
 The Rainer family, Margaretta, S., Elena, C, Simon, 
 B., Lewis, T., Yodeln. 
 
 Jan. 23. Concert op Musical Fund Society. 
 
 " Oratorio of David." 
 Mrs. Watson, Miss Wells, J. T. Norton, L. Meir/nen. 
 
 Nov. 10. Mr. Braham's Concert of Sacked Music. 
 Musical Fund Hall. 
 Mrs. Loder, Mr. and Mrs. C. E. Homl 
 
 1841. Feb. 8. " Magic Flute " Concert. 
 
 Musical Fund Hall. 
 
 Mme. Otto, Miss Poole, Messrs. Manvers, Seguin, Oiu- 
 belei and Latham. 
 
 Feb. 23. Concert. 
 
 Musical Fund Hall. 
 
 Dofta Dolores Nevares de Goni, Professor of the Gui- 
 tar; Seiior de Goni. 
 
 June 23. Concert. 
 
 Musical Fund Hall. 
 Mr. Manvers and the Seguin troupe. 
 
 June 24. Cokceet. 
 
 Philadelphia Museum. 
 Mrs. Watson and Mr. Braham, " acknowledged to be 
 
( 256 ) 
 
 " the first tenor -singer in the world." (Adver- 
 tisement.) 
 
 Oct. 12. Concert. 
 
 Musical Fund Hall. 
 
 /. T. Norton, Sig. Antognini, T., Mrs. Sutton and Mn.. 
 Bailey. 
 
 Oct. 19. Sig. John Nagel, 
 
 Pupil of Paganini. 
 
 Musical Fund Hall. 
 He was a cold performer, but remarkable for the purity 
 and correctness of his harmonics. 
 
 Nov. 8. Miss Sophie Mei.izet's Concert. 
 
 Musical Fund Hall. 
 Mdme. De GoUi, Guitar ; Mr. De-ulver, Flute. 
 
 1842. Jan. 14. Rossini's " Stabat Mater." 
 
 and pieces from operas. 
 
 Mrs. Seguin, Mrs. Bailey, Shrival, Seguin, Archer. 
 
 May 9. Aug. Noubrit's Grand Concert. 
 
 Nagel, violinist to the King of Sweden ; Nourrit,. 
 Professor of vocal music in the Conservatoire, 
 Paris; Mrs. Loder, etc. 
 
 May 11. Miss M. E. May wood and Mb. Walton 
 
 will give concerts, a la Musard, during the summer,, 
 at the Chestnut Street Theatre. Pit will be 
 floored over. Blessner, leader. Admission, 25- 
 cents ; 50 cents secured seats. 
 
 1843. Oct. 23. Nourrit's Geand Musical Festival. 
 
 Mesdames Calve and Lecourt and Messrs. Bles, Lecourt,. 
 Elie, Trust and Company. 
 
( 257 ) 
 
 Nov. 24. Musical Fund Society's Concert. 
 
 Signora Castellan, Gianpietro, Thorbeck and Trust. 
 
 Dec. 14. Musical Funu Society's Second Concert. 
 Madame Cinti Damoreau, M. Artot, violin. 
 
 Dec. 16. Olb Bull's Farewell Concert. 
 
 Musical Fund Hall. 
 
 1844. Jan. 12. SiG. Casella, 
 
 Violinist to the King of Sardinia. 
 Musical Fund Hall. 
 
 Jan. 22. Philharmonic Society. 
 
 Ole Bull, Miss Barry, B. C. Cross. 
 
 April 10. Philharmonic. 
 
 W. V. Wallace, first appearance. Violin and piano. 
 
 April 18. Philharmonic Society. 
 
 Musiial Fund Hall. 
 
 Signora Rosina Picot. Sig. Sanquirico, primo buffo : 
 /. T. Norton, Master Sconcla. 
 
 May 4. Grand Concert. 
 
 Musical Fund Hall. 
 Vieuxtemps, chevalier of several orders, assisted by 
 
 his sister Fanny. 
 Mr. Henry Phillips, Primo Basso Cantante of Her 
 Majesty's concerts. His first appearance. 
 
 1845. Jan. 28. Musical Fund Society's Concert. 
 
 Signora Pico, first appearance in Philadelphia ; Sig. 
 Antognini, T., Sanquirico. 
 
 April 17. Musical Fund Society's Last Concert. 
 
 Signora Pico, Sanquirico, Rapetti and a grand sin- 
 
( 258 ) 
 
 fonia, entitled " The Soldier's Dream," by Leopold 
 Meignen, Esq. 
 
 June 20. " Leonoea" Geand Concert. 
 
 Musical Fund Hall. 
 
 The principal vocalists and grand chorus of 70 
 ladies and gentlemen and the orchestra of 50 in- 
 struments. The entire opera will be given. 
 Leader, Mr. Meignen. 
 
 1846. Jan. 1. , Mr. Templbton's Concert. 
 
 " All is Lost Xow," and ballads. 
 
 Feb. 21. • Leopold De Myer's' Concert. 
 
 Nov. 21. Henry Herz, 
 
 Composer to the King of France, and Professor to 
 the Conservatoire, Paris. 
 
 Dec. 22. Musical Fund Society's Concert. 
 
 Signora Pico and Herz. 
 
 1847. Jan. 8. Philharmonic Society's Concert. 
 
 Sig. Camillo Sivori, Miss Barry, Capuano. 
 
 April 6. McrsrcAL Fund Society's Sixty-Fourth Concert. 
 
 Ladies and gentlemen amateurs of this city. This 
 was about the last Concert given in the Hall, pre- 
 vious to its enlargement. The platform was then 
 at the north end of the building. 
 
 Philharmonic Society. 
 Chinese Museum. 
 
 Signora Clotilde Barili, Sig. Benedetti and Leopold De 
 Myer. 
 
 June 3. Mr. Lover, author of " Handy Andy," etc., will give 
 recitations and sing his own songs. 
 
( 259 ) 
 
 July 22. " Moses in Egypt." 
 
 Museum, Ninth Street. 
 
 Signora Gerdi, Carranti Vita, Perelll, Novelli, Vita of 
 the Havana Troupe. 
 
 July 30. Grand Vocal and Ixsteu.mental Concert. 
 Bottesini, Arditi, Lorini, Severi. 
 Philadplphia Museum. 
 
 Nov. 20. Philharmonic Society. 
 
 Miss Sanson, Miss Richings, pupil of Mr. Plich 
 iStvori and Serz. 
 
 Dec. 11. Mme. Bishop, Bochsa on the harp. 
 Musical Fund Hall. 
 
 Dec. 30. SiG. SivoEi's Farewell Conxeet. 
 
 Museum Building. 
 Miss Northall, Sig. DeBegnis, yoroiiha, Meignen. 
 
 1848. Jan. 1. Mme. Anna Bishop's Farewell Concert. 
 
 Bochsa, on the harp ; Mme. Bishop will sing in cos- 
 tume a grand scena from " Tancredi" and " Gua- 
 dalquiver." 
 Musical Fund Hall. 
 
 Jan. 26. Philharmonic Society. 
 
 Miss Barry and Steyermarkische INfusical Company. 
 
 Feb. 2. Steyer.markische Musk.-al Company. 
 
 Concert. 
 
 Feb. 3. Musical Fund Society's Sixty-Sixth Concert. 
 
 Mr. Edward L. Walker's first appearance as a member 
 of the society, Ladies and Gentlemen Amateurs. 
 
 March 1. Philhabmoxic Society. 
 
( 260 ) 
 
 Halma, violin; Knoop, violoncello; and a young 
 lady amateur. 
 
 March 25. Gkand Farewell Con^cbet of the Italian Opera. 
 
 Company. 
 Truffi, Biscaccianti, Rossi, Amalia Paiti, Benedelti, Ar- 
 noldi, Rosi, Bailini, Beneventano, Avignone, Rossi- 
 Corsi, Sanquhico, and chorus of the opera com- 
 pany. 
 
 April 3. Mdsical Fund Society's Sixty-Seventh Concert. 
 Biscaccianti, Sig. Vietti, T., and Novelli. 
 
 May 13. Grand Operatic Concert. 
 
 Signorina Fortunata Tedesco, Rosina Pico-Vietti, Sig. 
 Vietti. 
 
 May 23. Philharmonic Concert. 
 
 Signorina Truffi, Natale Perelli, Heukeroth, on the 
 violin, pupil of Spohr. 
 
 May 2.5. Mn.sicAL Fund Society's Sixty-Eighth Concert. 
 Rossini's " Stabat Mater.'^ 
 Perelli, Avignone, and amateurs. 
 
 June 6. Concert. 
 
 Museum. 
 Signorina JVuffi, Perelli, Avignone. 
 
 Aug. 19. Bottesini and Arditi. 
 
 Sept. 20. Vocal and Instrumental Concert. 
 
 Miss Northall, Perelli, Avignone, Arditi and Bottesini,' 
 Grand duo for the violin and contra-basso on airs 
 from "Puritani," and dedicated to the American 
 nation by Signori Bottesini and Arditi. 
 
( 2<U ) 
 
 Oct. 7. Concert. 
 
 Musical Fund Hall. 
 
 Signorina Patti, Benedetti, Debreul, Arnoldi, Rod, 
 Valtellina, Giubelei. 
 
 Oct. 12. Grand Concert by the Italian Opera Company. 
 
 Truffi, Paiti, Benedetti, Arnoldi, VaUellina, Post and 
 Sanquirico. 
 
 Oct. 17. Musical Fund Society's Sixty-Ninth Concert. 
 Madame and Mr. Laborde, M. Strakosch. 
 
 Nov. 22. Mme. Bishop, Perelli, Knoop, cello ; Bochsa. 
 
 Nov. 28. Philharmonic Society. 
 
 The Ldbordes and Miss Richinc/s, on the piano. 
 
 Dec. 2: The Celebrated Moravian Singers. 
 
 M'Ue. Lovarny, Herr Zorer, KrauBz, Kaln and Stoepel. 
 Chinese Museum. 
 
 Dec. 3. First Concert of the Germania Musical Society, 
 from Berlin. Twenty-three professors. 
 Musical Fund Hall. 
 
 Dec. 20. Mr. Wilson's Musical Entertainment. 
 Musical Fund Hall. 
 
 1849. Jan. Grand Musical Festival 
 
 of all the artists of Maretzek's opera troupe. 
 
 Feb. 6. Concert. 
 
 Diston and his three sons on the silver Sax horns 
 and Sax tubas. 
 
 Feb. 9. Musical Fund Society's Seventieth Concert. 
 
 Mme. Anna Bishop, Perelli, Bochsa, Diston and Sons, 
 Sax horns. 
 
( 262 ) 
 
 March 14. Josef Gwiig'l and his celebrated orchestra of 
 twenty-six performers. 
 
 April 10. Vocal Concert. 
 
 ^Musical Fund Hall. 
 Tedesco, Eosina Pico, Vietti, C, Sig. Vietti, T. 
 
 April 13. Benefit of the Obchestra op the Musical 
 Fund Society. 
 Jfme. Biscaccianti, ^fiss Ricliings and Raima, 
 
 May 8. Signora Borghese, Signorina Fctsciotti, Corelli, T., 
 Taffanelli and Novelli. 
 
 May 24. Musical Fund Society's Seventy-First Concert. 
 Mr. and Mrs. Laborde, Valentini and Taffanelli. 
 
 Oct. 15. ^Musical Fcnd Society's Sevexty-Second Concert. 
 
 ^fme. Amanda Berton, prima donna ; Mona. Berton, 
 T., Sig. ]'ita, of the Havana company ; Luigi and 
 Annibale Elena, violin and piano. 
 
 Nov. 24. Amateur Musical Soirees. 
 
 Musical Fund Hall. 
 
 Ladies and gentlemen amateurs, and full orchestra. 
 Director Sig. Perelli. 
 
 Nov. 25. Mme. Bishop's Farewell Concert. 
 
 Perelli, Bochsa, Knoop. 
 
 Dec. 8. Musical Fund Society's Seventy-Third Concert. 
 Truffi, Carranti Vita, Benedetti, Vita and Rosi. 
 
 1850. Jan. 3. Amateur Musical Soirees. 
 
 Second Soiree. 
 
 " Belshazzar," a lyric tragedy in four acts. Com- 
 posed by Natale Perelli, and performed for the 
 first time. The third and fourth acts. Director, 
 N. Perelli. 
 
( 263 ) 
 
 Feb. 19. Edward Rembnyi, 
 
 Hungarian violinist. 
 
 June 5. PiiilhaHmonic Society. 
 
 Mme. Bertucca, Amaiia Patti, Signora Perrini. 
 
 May 30. Musical Fund Socibty's Seventy -Foukth Concert. 
 
 Mme. Bertucca, Miss Caroline Pintnrd, Beneventano, 
 Master Die». 
 
 Oct. 16. Jenny Lind's First Concert. 
 
 Chestnut Street Theatre. 
 
 1851. Feb. 5. Musical Fund Society's Concert. 
 
 Signora Truffi-Benedetti, Sig. Forti, Strakosch, Miska 
 Mauser, Waldteufel. 
 
 Catharine Hayes' First Concert. 
 Musical Fund Hall. 
 
 April 25. Parodi's Last Gband Concert. 
 
 Patti, Strakosch, H. Millard, the American tenor. 
 
 May 14. Musical Fund Society. 
 
 Miss Richings, Perelli, Waldteufel, violoncello, " The- 
 Desert," sung by the Mannerchor Society. 
 
 Sept. 25. Parodi's Concert. 
 
 Musical Fund Hall. 
 
 M'lle. Parodi, AmaMa Strakosch, Leonardi and Master 
 Charles Schmitz, the extraordinary and youthful 
 violoncellist. Maurice Strakosch, conductor. 
 
 Dec. 19. M'lle. Jenny Lind's Last Concert. 
 
 Musical Fund Hall. 
 
 Salm, BeUetli, Jos. Burke. Otto Goldschmidt, con- 
 ductor. 
 
( 264 ) 
 
 1852. March 4. Philhaemonic Concert. 
 
 Madame ThiEon, Mr. Hudson, i\i& Hutchinson fqmily. 
 
 March 23. Alfred Jaell. 
 
 First appearance. 
 
 The late Joseph J. Mickley was in his time one of the 
 cleverest repairers of musical instruments of the viol class in 
 this country. His house was the favorite resort of the distin- 
 guished solo performers who visited this city during the last 
 generation, and on Sunday mornings it was a sort of rallying 
 point for the leading musicians and amateurs of this city. On 
 such occasions the string quartette or quintette would some- 
 times include such artists as Ole Bull, Nagel, Vieuxtemps, 
 Miska Hauser, William Vincent Wallace, Knoop, Waldteufel, 
 Alfred Jaell and Ahrend. 
 
 Although these performances were not public, they doubtless 
 aided materially in creating and fostering a taste for chamber 
 music of a high order among those of our amateurs who parti- 
 cipated in, or who were present at these social meetings. 
 
 June 3. Pahodi's Last Concert in America. 
 
 Musical Fund Hall. 
 Amalia and Maurice Strakosch, Miska Hauser, violin. 
 
 Sept. 23. SiGNOEiNA Adelina Patti. 
 
 Musical Fund Hall. 
 
 "The Musical Phenomenon," not yet eight years 
 old, called " La Petite Jenny Lind." Miska Hau- 
 ser and M. Strakosch. 
 
 Oct. 1. Mme. Marietta Alboni's Second Concert. 
 
 Signori Revere, Sangiovanni, Arditi, with orchestra. 
 
 Oct. 14. Mme. Sontag's First Concert in Philadelphia. 
 
 Sig. Badiali, Paul Julien, violin ; Jaell, piano ; Ger- 
 mania Musical Society. 
 
( 265 ) 
 
 Oct. 18. Mmb. Heneietta Sontag's Second Concert. 
 Musical Fund Hall. 
 Badiali, Pozzolim, Alfred Jaell, Paul Julien. 
 
 Oct. 25. Mme. Sontag's Last Concert 
 
 but one. 
 
 Badiali, Pozzolini, Pocco, Jaell, Julien, Germania. 
 Conductor, Carl Eckert; Leader, Bergmann. 
 
 Dec. 3. Musical Fund Society's Seventy-Eighth Concert. 
 
 ^Plle. Mina Tourny, mezzo-soprano ; Louisa Tourny, 
 C. ; ^Plle. Camille Urso, on the violin. 
 
 Dec. 11. Mmb. Sontag's Only Concert 
 
 on her way South, on which occasion she will give 
 her services and those of her company for the 
 benefit of the Musical Fund Society. 
 
 1853. March 1. L. M. Gottschalk's Grand Concert. 
 
 Mme. Rose de Vries, M. Feitlinger, Hoffman, piano. 
 
 April 11. Germania — Grand Concert. 
 
 Camille DrsOj violin; Alfred Jaell, ani Young Miin- 
 nerchor. 
 
 Nov. 10. Jullien's Concerts. 
 
 Concert Hall. 
 
 J/me. Anna Zerr, Koeiiitj, cornet ,a piston ; Peichert, 
 flute; M. Collinet, flageolet, conductor of the court 
 balls of Napoleon I. ; ^f. Wuille, clarinet ; M. L(t- 
 vigne, oboe; Si;/. Bottesini, contra-basso. 
 
 Nov. 15. ■ Ji'hien's Beethoven Night. 
 
 Dec. 2. Grand Mozart Night. 
 
 Jullien, after losing all his music by a conflagra- 
 tion, died in a lunatic asylum in Paris, 1860. He 
 
( 266 ) 
 
 was born, 1812. " He did much towards the im- 
 provement of the taste for music." 
 
 1854. Feb. 8. Sig. Cesare Badiali's Farewell Concert. 
 
 Signorina Coaiini, of the Havana troupe; Miss 
 Brenau. ,Slg. Specchi, Herbert. M. H. OroSs, piano. 
 
 1855. Jan. 10. Geisi and Mario— Grand Concert. 
 
 Musical Fund Hall. 
 
 Duo from " Don Pasquale," by Mme. Grid and Sig. 
 Mario; "Casta Diva," Grisi; "A te o Cara," Qrisi, 
 Mario, Susini. Salabert; "II mio tesoro," Mario; 
 "Qui la voce," Mme. Orisi; "Com' e gentil;" 
 Mario; "Preghiera" from " Mose in Egitto," Grisi, 
 Mario, Mme. Donovani,. Smini. Conductor, Arditi. 
 
 Feb. 2. H. Thorbeck's Private Soirees. 
 
 Assembly Buildings. 
 
 Messrs. Thein, Flammer, Kammerer, Preiser, Tschirner, 
 Koch, Stall, Birgfeld and Muller. 
 
 April 17. His Third and Last Soiree. 
 
 Same performers. 
 
 Sept. 21. :Mme. de LaGrange. 
 
 Her only grand concert, supported by Signori Bri- 
 gnoli, Morelli, Amodio. 
 
 Sept. 27. Parodi's Grand Concert. 
 
 At the Musical Fund Hall. 
 Anialia Strakosch, Leonardi, Charles Schmitz. 
 
 Dec. 1. Musical Fund Society's Eighty-Second Concert. 
 
 Miss Hensler, American prima donna. Academy of 
 Music of New York, her first appearance ; Mme. 
 Aldini, first appearance; Sig. Brignoli, from the 
 Italian Opera, Paris, his second appearance in 
 Philadelphia ; L. 3L Gottschalk. 
 
( 267 ) 
 
 1856. Jan. 22. Philhahmonic Concert. 
 
 Sig. Vietti, Miss Brenan, Badiali, Cq,eeiatore, flute; 
 Nathans and Rondinella. 
 
 Feb. 5. Ole Bull's Geaxd Concert. 
 
 Musical Fund Hall. 
 Signorina Sp'mola, Miss Vail, Schreiber, cornet. 
 
 April 10. Musical Fund Society's Eighty-Third Concert. 
 Mme. LaG-range, BrignoU, Amodio, PereUi, piano. 
 
 Nov. 25. Musical Fund Society's Eighty-Fourth Concert. 
 Anna de LaGrange, BrignoU, Gottschalk. 
 
 Dec. 5. S. Thalberg. 
 
 Concert Hall. 
 Mme. Cora de Wilhorst, WeinUch. 
 
 Dec. 13. Thalbbrg's Farewell Concert. 
 
 Mme. D'Angri, de Wilhorst, Abella, Gottschalk. 
 
 Dec. 22. Thalbbrg's Concert. 
 
 Musical Fund Hall. 
 D'Angri, Wilhorst. 
 
 1857. April 25. Musical Fund Society's Eighty-Fifth Concert. 
 
 Mme. Gazzaniga, BrignoU, Amoldi. 
 
 May 28. Musical Fund Society's Eighty-Sixth Concert. 
 Mme. Isadora Clark, BrignoU, Amodio, H. Appy. 
 
 Sept. 25. Grand Concert. 
 
 Musical Fund Hall. 
 Vieuxtemps, Thalberg, Mme. D'Angri, Rocco. ' 
 
 Nov. 13. M'lle. Frezzolini's Concert. 
 
 Thalberg and Aiiialla Strakosch. 
 
( 268 ) 
 
 Dec. 10. Grand English Concert. 
 
 M'lle. Farodi, Vienxtenip.i, Misa Milner, E. Perring, 
 
 Dec. 19. D'Anghi axd Vieuxtemps's Grand Concert. 
 M'lle. Carioli, iSig. Labocetta and Gassier. 
 Musical Fund Hall. 
 
 1)'Angri and Vibuxtemps's Last Concert. 
 M'lle. (?oj"neaMar, of the Conservatoire, Paris ; Oassier, 
 Rocco, Perring. 
 
 1866. Nov. 13. Batbman Concerts. 
 
 Academy of Music. 
 
 Mine. Parepa, Brignoli, Ferranti, Carl Rosa. 
 
 1867. May 16. Carl Wolfsohx's Farewell Concert. 
 
 Oazzaniga, Habelmann, and the Mendelssohn Society. 
 
 1869. Oct. 29-30. ^M'lle. Carlotta Patti Concerts. 
 
 Academy of Music. 
 
 Georgia Ronconi, Hermanns, etc. 
 
 1870. Oct. 12. M'lle. Christina Nilsson's First Concert. 
 
 Miss Gary, Brignoli. Vieuxtemps. 
 Academy of Music. 
 
 1871. May 23. Abt Male Singing Society. 
 
 Musical Fund Hall. 
 Conductor, M. H. Cross. 
 
 1872. July 25. Garde Repcblicaine de Paris. 
 
 Concert at the Academy of Music. 
 
 Oct. 28. First Bubinstein Concert. 
 
 Academy of Music. 
 
 Dec. 7. First Concert of the Orpheus Club. 
 
 Musical Fund Hal!. 
 
{' 269 ) 
 
 1873. A^pril 4-5. " The Greatest Concert Combination on Record." 
 
 The Rubinstein and Theodore Thomas companies. 
 Henri Wieniawski. 
 
 1874. Nov. 27. Gilmoke's Band. 
 
 Miss Anna Thuraby. 
 Academy of Music. 
 
 1875. Oct. 22. M'llb. Titibns' First Appearance. 
 
 Academy of Music. 
 
 Arabella Ooddard, Emile Sauret. 
 
 Dec. 17. Dr. Hans Von Bulow. 
 
 1876. Dec. 27. Mme. Essipopf's Concerts. 
 
 Association Hall. 
 
 Assisted by Mm Palma, prima donna ; Mons. Alfred 
 Vivien, violin. Dulcken, musical director. 
 
 1878. Oct. 4-5. WiLHELMj Concert. 
 
 Mme. Carreno, Lazzarini, Tagliapietra. 
 
 ^Quite a large number of the later singing societies are com- 
 posed Of Germans and generally of male voices. 
 
 About 1869, the Beethoven Society, of mixed voices, was 
 founded by Mr. Carl Wolfsohn. It was afterwards under the 
 musical direction of Mr. Michael H. Cross. 
 
 About the same time, the Abt Male Singing Society was or- 
 ganized and gave concerts annually for some years. A pro- 
 gramme before me, dated December, 1874, contains the names 
 of thirty-three members. There were some very fine voices 
 and excellent musicians among them. It was at that time 
 under the musical direction of Mr. Hugh A. Clarke. 
 
 The Cecilian is a successor or outgrowth of the Beethoven 
 Society, but with a largely increased membership and infused 
 with a corresponding activity and zeal. They number four 
 hundred voices, and at their concerts are accompanied by the 
 
( ,270 ) 
 
 <3rermania, or Theodore Thomas's Orchestra. The Cecilian 
 has won a high aud well-merited distinction for the excellence 
 of its performances. Beginning with selections of mis- 
 •cellaneous music, the society has yearly advanced in con- 
 fidence and ability, and has produced the following, among 
 other great works : " The Messiah," " St. Paul," " Stabat Mater," 
 ^'Samson," "The Creation," "Elijah," "Judas Maccabseus," and 
 "Israel in Egypt." The society was organized in 1875. Mr. 
 Michael H. Cross is still the musical director. 
 
 The Orpheus Club of male voices was organized in 1872. In 
 1877 it was incorporated. Michael H. Cross was elected con- 
 ductor at its organization, and still holds that position. Under 
 his able leadership the club keeps up its reputation for careful 
 and discriminating work. 
 
 The Philadelphia Jlusic Festival Association was incorpo- 
 rated June 1st, 1882, "for the purpose of the holding of music 
 festivals and concerts, and the promotion of musical culture." 
 
 Their first music festival was given at the Academy of ilusic 
 on the 9th, 10th, 11th and 12th of May of the present year, 
 (1883,) with a chorus of five hundred and forty voices and an 
 orchestra of one hundred performers. Among the soloists were 
 Mesdames Gabriella Boema and Sofia Scalchi, Messrs. Topdt and 
 Eemmertz. The virtuoso, Rafael Joseff}', performed on the 
 piano. 
 
 The musical directors are Messrs. W. W. Gilchrist and 
 ■Charles M. Schmitz. 
 
 The list of corporators and members contains the names of 
 many of the best known professors and amateurs of music in 
 Philadelphia. The success of their first music festival, and the 
 •earnest and active efforts of the board of directors, give promise 
 that the association will be established as a permanent institu- 
 tion, and more especially for the culture of choral music. 
 
INDEX. 
 
 The names of artists in the index indicate Iheir first appearance in this 
 ■city. As the performances are recorded in strictly chronological order they 
 ■can readily be traced. 
 
 Addenda, Amateur Opera, . . . 234 
 
 "Aida," 173 
 
 Aimi5e, Mme., 169 
 
 Albani, Miss Emma, 179 
 
 Alboni, Alme.,. 76 
 
 AmbriS, BmUe 215 
 
 American Academy of Music, . .239 
 
 'Amilie," 37 
 
 Amodio 8S 
 
 "Anna Boleyu," 48 
 
 Antonucci 129 
 
 "Archers," the, 10 
 
 Arditi and Bottesini 65 
 
 '"Artaxerxes," 39 
 
 Austin, Mrs., 16 
 
 Avignone 66 
 
 Badiali . . 
 
 Ballad Operas 
 
 " Barbe-Bleue," 
 
 "Barber'of Seville," reception ( 
 its first r0preser>tation, . 
 
 Barre 
 
 Beaumarchais, . 
 
 " Berears' Opera," 
 
 "Belisario,". . ... 
 
 Bellini's funeral 
 
 3elocca, Anna di, 
 
 Beneventano 
 
 Beraldi 
 
 Bertucca, Mme . . . . 
 
 "Betly," 
 
 Bettini 
 
 Biacchi 
 
 Bign.ardi 
 
 Bine di Rossi, 
 
 Biscaccianti. Signora, . . . 
 Bishop, Sir Henry Rowley, . 
 Bishop, Mme. Anna, 
 Boema, Gahriella.-. , 
 "Bohemian Girl," ... 
 Bordogni. Slgnorina, . . . 
 Boslo, Slgnorina, . . . 
 
 Bosisio. Mme 
 
 Botlardi, . 
 
 Braham, . . 
 
 "Bravo," the 
 
 " Brewer of Preston." 
 
 " Bride of Messina," 
 
 Brignoli, . 
 
 Sriol, Mme 
 
 Brough, Walton and Burton, . . 
 
 64 
 
 U 
 
 .153 
 
 . 143 
 
 . 165 
 
 32 
 . 80 
 . 47 
 . 2U9 
 . 194 
 . 66 
 . 79 
 . 66 
 .114 
 
 69 
 .122 
 . 94 
 .133 
 
 58 
 . 11 
 . 57 
 .226 
 . 48 
 . 28 
 
 64 
 .129 
 . 91 
 . 38 
 
 6< 
 . 5S 
 .179 
 
 85 
 .158 
 
 CalviS.M'lle 
 
 campanini 
 
 Capoul, 
 
 Caradori-AUan, Mme., . . 
 
 "Carmen." 
 
 " Carnival of Venice," . . 
 
 Carpi 
 
 Carr, Benjamin 
 
 Carreno-Sauret 
 
 Gary, Miss 
 
 Castle and Campbell, . 
 
 " Cenerentola," 
 
 " Chimes of Normandy," 
 
 Colson, Mme 
 
 Conservatoire at Paris. . . 
 Cora de Wilhorst, Mme., 
 
 Cordier, M'Ue 
 
 Cromwell and the Opera, . 
 " Czar and the Carpenter,' 
 
 . 43 
 .172 
 .165 
 . 35 
 .207 
 .148 
 .180 
 
 10 
 .191 
 . 165 
 .134 
 
 22 
 .205 
 . 99 
 .188 
 
 99 
 .115 
 .230 
 . 91 
 
 DaConinck, Mr 9 
 
 D'Angri 92 
 
 DeBeauplan's Troupe 21^ 
 
 DelHuente, . ., 172 
 
 DePaez, Signora 88 
 
 "Der Freischiitz." U 
 
 " Der WildsehUtz," 117 
 
 Didl6e, M'lle. iJantier, 85 
 
 "Dinorah," 115 
 
 " Don Giovanni," 40 
 
 " Don Pasquale," 53 
 
 Drayton's Parlor Operas 109 
 
 " Due Foscari," ot 
 
 Dunlap, William 10 
 
 " Elisire d'Amore," .... . .- 
 
 " Eliza e flaudio." . . . . 
 
 "Etoiledu Nord," 
 
 Exorbitant salaries of vocalists. 
 
 Fabj, Sie. 
 
 " Falstaff," by Balfe, , 
 Fanny Elssler, M'lle., 
 Fanii, Slgnorina, . . 
 
 Ferou, Mme 
 
 Ferri 
 
 Florenza, 
 
 Formes, ... . . . 
 
 Foruasari 
 
 " Forza del Destino," 
 " Fra Diavolo," . . . 
 Franklin, Benjamin , 
 
 , 41 
 
 21 
 
 135 
 
 •i32 
 
 27 
 .119 
 . 41 
 
 28 
 . 21 
 .105 
 .101 
 
 94. 
 
 22 
 . 128 
 
( ^72 ) 
 
 Frazer, Mr 48 
 
 French Opera Company Ifi 
 
 Fry, Edward and Brothers, . 1T4 
 
 Fry, William H.. . ... 38 
 
 Fursh-Madi, Mme .224 
 
 Galassi, 208 
 
 Gambati 2K 
 
 Garcia's Italian Opera, . . . 13 
 
 Garcia, Jr., Manuel, ... 15 
 
 Gassier .... .92 
 
 Gazzaniga, . . . £8 
 
 Geistinger.'Mme . . 218 
 
 " Genevieve de Brabant," , . . . . 165 
 " Gemma di Vergy," . .' . 47 
 
 Gerster, Mme., 208 
 
 Gianini, 218 
 
 Glubelei, Mr .40 
 
 " Giuramento," .'iB 
 
 " Gli Arabi Nelle Gallie," . , . . 30 
 " Grande Duchesse," .... 1 .. 150 
 Grand jubilee, afternoon and even- 
 ing 71 
 
 Graziani, ..... . . . 79 
 
 GriEi, Mme., . . ' 83 
 
 Guerrabella, Signora , . . 115 
 
 ■TT '» an 
 
 ' Gustavus in., 
 
 " Hamlet," . . .165 
 
 Handel, . . . . .204 
 
 Harrison . . . 80 
 
 Hauk, Mis-s Minnie, . . . . 136 
 
 Havana Opera Company, . . 64 
 Hoilbron. M'Ue., . . . 181 
 
 Hensler. Miss . ... .85 
 
 "Hernani." .54 
 
 " Home, Sweet Home," . 10 
 
 Hopkinson, Francis, . 7 
 
 Hunt. Leigh .6 
 
 " II Barbiere di Siviglia," . . 28 
 "IlPira a," . . . 21 
 
 " II Seraglio," 118 
 
 Inauguration of the Academy of 
 
 Music,., . .88 
 
 Incledon and Philips, ... 10 
 
 Inverarity, Miss, . 39 
 
 "lone," . . . . .122 
 
 Irfre . . .129 
 
 Irma. M'lle ,. . ,, 153 
 
 "Italianain Algeri," 22 
 
 Italian Opera in America, . . . 233 
 " I Vespri Siciliani," 105 
 
 Jacques, Eosa, 
 
 Jamet 
 
 Jenny Lind, . . 
 "Jessonda,". . . 
 Johanssen, Mme., . 
 
 "Joseph," 
 
 Juch. Emma, . 
 Junca,. 
 
 75 
 .165 
 
 65 
 .125 
 
 90 
 .118 
 .220 
 .105 
 
 Eapp Young. Mme.. . 
 Kemble, Mias Fanny, . 
 Kuhn, Dr. Adam, . 
 
 "La Belle H61ene, 
 La Blanche, M'Ue 
 
 Labocetta 
 
 Laborde, Mme.. . 
 
 "LaCamargo," . . 
 
 " La Donua del Lago," . . . 
 
 " La Fille de Madame Angot,' , . 
 
 " La Favorite," . . . . . 
 
 "L'Africaine." 
 
 " La Gazza Ladra," in French, . . 
 LaCirange, Mme. Anna de. . . 
 
 " La Perichole," ..'..' 
 
 " La Parodie de Lucia di Lammer- 
 
 moor," ... 
 Laryngoscope, . . . 
 " La Serva Padrona " 
 "La Traviata," . . . 
 "La Vie Parisienne," 
 I.efranc,. . . 
 
 Le Macon 
 
 " Leouora,''W. H. Fry, 
 "Le Pr(5 aux Clercs," . . 
 
 "Le Prophete," 
 
 " Les Cent Vierges," . 
 " Les deux JourniSes," 
 " Les Huguenots." 
 
 Leslino, Maria, ., 
 
 " Les Nooes de Jeannette,' 
 "L'CEilCreve," .... 
 " Les Pres Gervais," 
 
 Libretti 
 
 Lichtmay, Mme. . . 
 " Lily of Killarney," . . 
 " Linda di Chamouni," 
 Litta, Maria, . . ' . . 
 
 " Lohengrin," 
 
 Lorini, Signora, 
 
 Lncca, Mme ■ . . 
 
 " Lucia di l.ammermoor, 
 " Lucrezia Borgia," . . 
 "LuLsa Miller," . . 
 "Lull," . . . 
 
 .149' 
 . 26 
 
 . e 
 
 .152 
 .211 
 
 92 
 
 61 
 . 213 
 
 30 
 .171 
 . 50- 
 ,12» 
 . 25 
 
 85 
 154 
 
 108 
 15 
 103 
 
 .155 
 .158 
 .117. 
 . 48 
 . 44 
 .155 
 .170' 
 .164 
 
 51 
 . 218 
 .114 
 .155 
 .187 
 .■138 
 .162 
 .140 
 
 77 
 
 .2or 
 
 .178 
 ,115 
 .169 
 47 
 58 
 79. 
 53. 
 
 Maccaferri . . . 104 
 
 •' Maid of Cashmere," . . 35 
 
 " Maid of Judah," 32 
 
 Malibrau, Mme , in Philadelphia, 14 
 
 Mancusi, 113 
 
 Manvers, Mr . . 40' 
 
 " Maria di Rohan," . . . , 77 
 
 Marimon, Mme . . 214 
 
 Marini 64 
 
 Mario 83 
 
 " Marriage of Figaro," ..... 27' 
 
 Ma«samiliani . 150 
 
 "Matilda di Sabran," 30 
 
 ■'Matrimonia Segretto," ■ . . . 28. 
 
 Maurel ... 17a 
 
( 273 ) 
 
 Jlay, Miss, her d^but, 95 
 
 Mazzolenl, 122 
 
 Medori, Signora, .122 
 
 "Merry Wives ofWindsor," . . . 119 
 " Midsummer Night's Dreiam," . 1.37 
 
 Mierzwiiiski 224 
 
 "Mireille," 127 
 
 Moutresor's Italian Opera 21 
 
 Moore and Byron on "Otello," . 23 
 
 Morelll 85 
 
 Morensl. M'lle , . . .115 
 
 " Moses in Egypt," 23 
 
 Mount-Edgcnmbe, Lord 29 
 
 "Mountain Sylph," . 33 
 
 Musical Glasses 5- 
 
 Musioal Library, 229 
 
 Musical Societie.s and Concerts, . 244 
 Murray. Hon Chas. Augustus, . . 9 
 
 Murska, lima di 172 
 
 Meyerbeer . . .129 
 
 Naddie; Mme .134 
 
 Nannetti, , 172 
 
 Nicolinl, 219 
 
 " Night in Granada," . . . .117 
 
 Nilsson, M'lle 165 
 
 " Norma." 38 
 
 Norton, J. T. S . . 28 
 
 " Notre-Dame of Paris," . . . . 126 
 
 Nourrit, Adolphe, 131 
 
 Novelli, .66 
 
 Oldmixon, Mrs.. . . . . .9 
 
 Ortolani-Brignoli 122 
 
 " Ostralenka," 179 
 
 "Otello." 22 
 
 Otto, Mme., .35 
 
 Palmieri, Mme 193 
 
 Pancani .143 
 
 Paola-Marie, M'lle., . . .212 
 
 Pappenheim, M'lle 189 
 
 " Parisina," 67 
 
 Parodi, Signorina, . ... 66 
 
 Pasta, 201 
 
 Patti, Adelina. in Concert 72 
 
 Patti, Adeliha, in Opera 105 
 
 Patti, Miss Carlotta, 161 
 
 Payne, John Howard 12 
 
 Pyne. Miss Louisa, 79 
 
 Peale, Mr. and Mrs. Franklin, . 9 
 Pedrotii, Signora, . ... .21 
 
 Perelli, 54 
 
 Phillips. Miss 86 
 
 Piccolomini, M'lle., 100 
 
 Piekaneser, Herr, . ... 90 
 
 "Pinafore," 208 
 
 Pooh, Signora, 135 
 
 Poinsot, M'lle 102 
 
 Poole, Miss ... 40 
 
 Pozzolini, 76 
 
 Prince of Wales Ill 
 
 "Puritani," 47 
 
 " Puritan's Daughter," 157 
 
 Ramos, Signora, . ....... 91 
 
 Ea'^aglia, sig., 28 
 
 Kavelli 216 
 
 Rewards of Musical Authors, ... 167 
 
 Eeyna, .... 150 
 
 Kichings. Miss Caroline 71 
 
 "Rienzi," 203 
 
 "Kigoletto," '. . . . 92 
 
 " Rip Van Winkle," 161 
 
 Ristori, 186 
 
 Riyaflnoli's Opera Troupe, .' 27 
 
 " Robert le Diable," 51 
 
 Eocco, 77 
 
 "Romeo & Juliet," Bellini, . . . 56 
 " Romeo and Juliet," . . 148 
 
 " Rose of Castile," 137 
 
 Rose Hersfe, 157 
 
 Rose de Vries, Mme., . i . . 70 
 
 Rosi, . . . 66 
 
 Rossini, Funeral of, 230 
 
 Rossini, M'lle., .... ... 219 
 
 Rovere, 85 
 
 Rowbotham, Mrs., . . 36 
 
 Roze, M'lle .200 
 
 "Saffo," . . . 54 
 
 Salvi ... 64 
 
 Santley, 164 
 
 Sanquirico's Company, . . .58 
 
 "Satanella," . . 163 
 
 Sbriglia .103 
 
 Scalchi, Mme., 224 
 
 Seguin, Mrs., . . .37 
 
 " Semiramide," ... 86 
 
 Shakespearian Operas, . . .165 
 
 Sheridan, R. B., 12 
 
 Shireff, Miss 37 
 
 Sinclair, 21 
 
 Soldene Troupe, . . 185 
 
 " Sonnambula," . ... . 33 
 
 Sontag's first concert, . . 72 
 
 Sontag, Mme . .76 
 
 States, Mrs. Agatha, . . . 152 
 
 Stefanl .104 
 
 Stefifanone, Signorina 63 
 
 Stigelli, 105 
 
 •■Sfradella,". ..... . .118 
 
 Strakosch, Maurice 110 
 
 Sully, Thomas, . 8 
 
 Sulzer, Mme., 122 
 
 Susini, 109 
 
 Sutton, Mrs., 39 
 
 Taflfenelli, . . ....... 93 
 
 Tagliafico, . '. 91 
 
 Tagliapietra, ... 181 
 
 " Taneredl," . 20 
 
 " TannhSuser," . 125 
 
 Tamberlik, 172 
 
 Tamburini at Palermo, . . . . . 182 
 Tedesco, Fortunata 54 
 
•( 274 ) 
 
 Thilion, Mms. Anua, . 
 Tiberini, 
 
 Titiens, 
 
 Torriani, Ostava, . . . 
 
 Tost^e, M'lle 
 
 " Trovatore," 
 
 Truffi and Benedetti, . 
 
 " Un Ballo in Maschera ' 
 
 71 Van Zant, Mrs 
 
 94 Vanzini, Mme., . . . 
 190 1, Verdi's "Requiem," 
 172 ! . 
 
 160 ' Wachtel 
 
 Willing, Mrs. Thomas, 
 " William Tell," . . . 
 Wilson, Mr., and Seguiu. 
 Wood, Mr. and Mrs., 
 
 .lis 
 
 Vachot, M'lle,, . 221 
 
 Valerga 216 
 
 Valleria, M'lle 214 
 
 "Zampa.". . . 
 Zucchi, Signora, 
 
 .IM 
 
 .ica 
 
 .204 
 
 .16S" 
 ,8 
 97 
 37 
 2& 
 
 41 
 .128-