MUSIC.
THE OPERAHOUSE CONCERTS.
THE miscellaneous performance which preceded Le Desert on Monday last afforded one of the highest musical treats that the Metropolis has enjoyed for a long time Old things became new by more careful reading, more vigorous collective exertion, and the effects of an unusually numerous and choice orchestra; while new things, not destined to become old, obtained temporary applause through the admirable and varied talents which com- pose the vocal corps of the Italian Opera for the present season. Alto- gether, richer materials for pleasure were never placed before the concert- goer; and he was not only gratified by the able performance but by the uninterrupted order and regularity in which the programme was fulfilled, notwithstanding the host of accompanyists and players.
The occasion formed an epoch in the history of' the C minor Symphony of Beethoven, which came out with inconceivable freshness and effect; and, after long experience of this work by native and foreign orchestras, we are compelled to say that its performance under Costa's direction was the best- we-ever heard. Instrumental music of' this high class is lost if it fall into a prosaic routine: the freshness of first sensation must be revived, from time to time by some great occasion, or we forget what we possess. If it was a great sera for the art in this country when the first Philharmonic Concert united the talents of all the celebrated leaders of that day—of Salomon, Weichriel, Spagnoletti, Vaccari—and the flaydn Symphony came out in its strength, it is scarcely less so at present, when within one short month the jaded sensation attending the Philharmonic perform- ance of Beethoven's celebrated work is exchanged for the lively emotion and enthusiasm of the original truly given by an augmented orchestra and a new conductor. Something there may have been of pique to overwhelm the Philharmonic by such an imposing array of force in the stringed-band as has never yet been heard in London, or to eclipse it in management, by showing how an orchestra may be both weeded- and improved—where youth may take the place of inefficient age—that Dragonetti's bow is still great in the service of Beethoven—that Barrets delicate oboe, and the strong violins of Tolbecque, Ntulaud, &c., an army of young performers of talent, cannot be omitted in any modern representation of the symphony. But most.of all, we suspect Costa was piqued to show that he could con- duct a symphony of Beethoven in its true character and style: and he acquitted himself admirably. If Costa, like Bishop, is known to have tampered with certain of the classics of the art in a manner which argued no very high veneration for the sacred works of genius, he has at least the decided advantage of constant practice in the orchestra. He not only thoroughly reads scorns but has his own art of producing them. By anticipating every point, and knowing where to-look for it when its time comes, every player is kept attentively to his duty. The command of e great orchestra becomes evidently, an acquirement of experience and prac- tice, when the roan who has it keeps the largest assemblage of per- formers together with more ease than another half the number. The moral influence of the conductor is formed, if not at once by a high position as a composer, by the ability which he displays at rehearsal, his acuteness in the detection of errors, and promptness in suggesting improve- ments in the accent or effect of passages. That Costa, as an able thief, has acquired the favourable opinion of his orchestra, it is needless to say.; and'whatever may be asserted of his predilection for noise and rapidity of movement, it was certainly in abeyance on this occasion. The Symphony of Beethoven was carefully rendered according to the marks of the original, and the times of the various movements, were either melannenicsor taken from. the best traditions.- There was a, crispness and. ensemble in the attack of the subjects, a delicacy in the pianos, a gradation and vehemence in the crescendos and fortes, and an attention to the changes of time so conspicuous in the dreamy and fantastic character of this musio, which have never been rivalled in England. The new accents which were heard from the violins in the subject of the slow movement were very beau- tiful. The scherzo, taken slower than usual, became much more effective, and the feigned part in the major clearer than it usually is. The sublimd'. burst into the finale, after the long pedal point and crescendo on A flat, wee admirably rendered. Four trumpets added their pealing notes to the im- mense body of stringed instruments, and the magnificent spirit of the original seemed to animate the orchestra. It was the finest thing that we remember. The changes of time and gradual acceleration of movement towards the close of the work, which render the performance difficult to con- duct and even to understand without long acquaintance with them, oreated no embarrassment. Let us give due credit to a very great and important achievement in instrumental music, which it is to be hoped will so far repay the manager as to bring on its repetition many new converts to Beethoven.
The singing exhibited admirable talent. Brambilla in " Che faro" was charming, if no longer for the quality of her tone, yet for the soul and ex- quisite style of her performance: it was a strain of pore cordial music. M. dame Castellan sang "Non ml clir"- with the utmost beauty of tone and ex- pression: higher praise cannot be given to the singer than that she satisfies in so arduous a scene. Then we had "Non pin andrai" given with portentous grandeur of tone by Lablache. This, as his voice was in its roundest and finest condition was a sure encore: we only regretted the ineffective and foolish expedient of the chorus. at the end—an appendage which destroys- the burlesque grandeur of Mozart's military symphony.
Rossincs new composition La Carita, for four female voices and chorus,. was sung by Rita Borio, Castellon, Brambilla, and Rosetti. This work is a piece of effect in the style of the Stabat, with new and pleasing combina- tions, but nothing intrinsically new in point of conception. The skill with which the four ladies combined their voices in the quartet, and their purity of intonation in the flat ninths and other (to Opera-singers) un- wonted suspensions of church music' were very delightful. Even Bram- bills made her weak organ tell with great effect. It was altogether the perfect exhibition of pure concerted singing that gave the interest to this performance. If Mr. Lumley choose to prosecute these concerts, he has undoubtedly the command of singers and performers which take the lead of everything in London. The time demands a revival of orchestral music, and we hope it has commenced. We have seen by his taking up Felicien David, that he, has the spirit to attack new compositions as well as to revive the old. But how far it is prudent to risk such a vast and expensive orchestra on the chivalrous patronage of new genius, may be questionable. A good begin- ning has been made, and we hope; that time may shape it to the advantage- of the public and the art.
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