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.“ Tiffin Tiffin," is usually sung as a abound," produces an excellent and recitative: Mr. Wesley, by the judi- appropriate effect. cious accompaniment he has added, The little symphonies which are in. has certainly rendered the melody tended as echoes (page 79) should be more effective. The author's best marked Pianissimo, as an echo should thaoks are due to him, for baving ren- always be sofler than the sounds supdered this essential service, in further. posed to be echoed. We think also, ance of an undertaking so arduous as that the echo should consist of eractly in every stage he has found it.
the same sounds or notes as those which We think Mr. S. Wesley fully enti- are supposed to produce the echo; fos tled to the praises thus haudsome. which reason we should prefer an A ly bestowed upon biin by Mr. Lin. added to the C and F in the treble acley.
companiment (last note but one of the Although the music in Macbeth has 8th and 9th measures) as that A is found been already very well arranged, both in the corresponding chord producing by Mr. Jacob the Organist, and by Mr. the echo, Stokes; yet we give the preference to The last note of the sth bar in the the new arrangement by Mr. S. Wesley, second soprauo should be A, not G; as it is in our opinion much clearer and and the corresponding vote in the vocal inore effective. We should, however, base should be P, not E. have been more completely gratified, The first note in the vocal base of if the chorusses had been given in four the 4th bar, page 80, should be F, not E. parts, as they originally stand in the There is another trifing error by the score, instead of being adapted for two engraver at page 88, where the last sopranos only and a bass. Some of the note in the vocal base, 4th bar, should chorusses, we fear, will lose a consider- be E, not C. able part of their effect from the Me S. Wesley has greatly improved change, particularly the one at page the effect of the chorus “ Come away," 94, “ We should rejoice," in which the (page 82) by introducing a running base second soprano descends repeatedly to accompaniinent where the subject is tbe G in the third space below the staff, repeated. a note which very few soprano voices The three last measures of page ss, will be able to execute with any degree should be marked piano, for the same of force or effect. This remark is not reasons as were assigned in our remarks made with the view of attaching the on the introductory symphony. least blame to Mr. S. Wesley, as we Instead of the B flai in the base being are aware that the above adaptation left unaccompanied (9th measure, page was made in conformity to the rule 89) we should prefer the common chord from which Mr. Linley has not devio added in the treble, in order to resolve ated in the arrangement of the chorus- the preceding discord of the imperfect ses contained in the Shakspeare vo- fiftb. lumes. But we cannot but regret, tbat We here again repent our opinion, Mr. Lipley imposed such a rule upon that this work evioces the taste and bimself, or that he should think it abilities of Mr. Linley in a literary, as necessary to adhere to it with such well as in a musical point of view. absolute strictness.
The prefaces are written with great In the introductory synphony, page elegance, and contain several curious, 09, the four last incasures should, we interesting, and judicious remarks. think, be marked piano; this would The musical department demonstrates prevent the monotony resulting from considerable powers of invention, and å repetitiou of the same passage in the of musical expression in the variely of same manner, and would also give to the melodies, as well as in their approthe symphony a greater similarity of priate adaptation to the different sencharacter to the following movements, timent cootained in the poetry. The several of which teriniuale with the accompaniments also display a degree same passage repeated piano.
of science and playful fancy, seldom At the words, “ many more mur- found combined even in the most esders,” (page 7.) Mr. Wesley bas very perienced musical professors; in short, judiciously altered the accompaniment, we consider this classical publication by, introducing a more florid counter- fairly entitled to the patronage of every point in the treble part; aud the vewly- lover of Shakspeare, and we sincerely added running base in the next page, hope it will meet with the encourage at the words, “ Dread Horrors slill nout it so justly deserves
DRURY LANE. TOV. 23. “The Iron Chest.” The of Caleb Williams, from which this play
character of Sir Edward Morlimer is takey, the characters are strongly is an acomaly throughout; but the play drawn, and the attention is kept alive is rendered delightful from the combi- by a climax of incident, which it is not nation of inusic, scenery, and general possible to adapt to the stage: and it is effect. Sir Edward makes fume bis no mean compliment to say, that peridol, and would sacriúce bis eterual haps no person could have produced welfare to preserve his name from pol. such an effect as this tout ensemble by lution : but, exasperated by a blow, and Colman. -On Mr. Kean's jodefati. boiling with rage, he accidentally meets gable progress, we have frequently pas. his brutal antagonist alone, and stabs sed judgment, and occasionally with him to the heari. To lull suspicion, he high enlogium. He is, notwithstanding, is arraigned for the murder, and is ac- more remarkable for the art of showing quitted on his siniple asseveration of off himself, than for the science of uninnocence: and so much is he idolized, folding his author. In the new chathat “the noisy rabble carry him tri- racter of Sir Edward Mortimer, this umpbaot home"His proud soul, how- talent is peculiarly manifest; but as we ever, revolts at the “inean lie” which do not desire to detract from his enpreserved bis reputation unstained, and creased popularity we content ourselves he broods in secret melancholy; though to say, the noveliy of this evening was his hard opens liberally to ihose who a birth of Mr. Kean's immediate creaformerly partook of his bounty. His tion, and cradled not less imposingly establishment is princely: but from than was the little King of Rome. Inbeing the gayest of the gay, he is in. deed this celebrated actor is a most wardly a prey to the grief that con- fortunate adventurer. Had Icarus been sumes him. Wilford, aa bumble de- born under bis auspicious planet, the pendant on his bounty, is induced by daring boy might long have wantoned curiosity to discover the cause of this on his fancy piojons.-Of Mr. Wallack's melancholy iu his adored master ; and Wilford, we cannot speak too highly: is caught by Sir Edward in the act of it was chaste, energetic, affectionate ; examining an Iron Chesl; in which it and we consider that he might fairly afterwards appears the secret is depo. claim some portion of the vociferations sited. He tells his sad tale; but binds which called for its repetition on MonWilford, “ by every tie human or day, and which was immediately acdivine nerer io divulge” the fatal se. ceded to by tbe manager: cret : and shortly after meanly places Nov. 29. Cry to-day, and laugh some valuables in his box, not for the to-morrow." The simple lille of this purpose of destroying him, but solely serio-comic afterpiece conveys a strong to invalidate his evidence, should he be lesson to mankind. If persiculion astempted at any future period to accuse sail us, we look forward with hope; and bim. By an oversight, however, he an enlivening son cheers the gloom of places the very instrument with which departing sorrow: the clouds dispersed," he committed the murder, together with we remember our griefs but as a passing a confession of his guilt, among the dream; or, in other words, if we cry articles; and thus by discovering his to-doy, we laugh to-morrow.-We shall unintentional crime, also exposes his not enter into an analysis of this piece, meditated purpose against Wilford.- as it has since been withdrawal--not that Now, when a man is tried, and acquit- it wanted materials ; for tbey were ted, he is deemed innocent in the eye of good: but that it was deficient in comthe law, and cannot be again arraigned bination. Could the author (Mr. for the same offence. Then why trust Knight) in this bis first aliempt have a peasant with this important secret ? given to the lungunge and incidents or, why keep a coufession of guilt at some of thosc peculiar touches which all, as it must eventually expose hiin, be invariably throws into every characand thus defcat the first object of his ter he assumes, this afterpiece would life-ambition to be thought superior iodeed have ranked high : mais Londres to every human being? In the pove! n'a pas été fait loul en un jour
Dec. 3. “Love in a Village.” Miss tion; his muffled figure should not be Merry, divested of her fears, appeared less dignified and imperative than that to greater advantage in Roselia, than of Coriolanus at the heartb of Tullus she did in Mandane: she not only sang Aufidius. Mr. Kean, therefore, in the better, but played the part with a viva- progress of Zange's systematic malig: city which delighted. The duet, Toge- nities, wants precisely the powerful ther let us range the fields, by Missillusion which makes him so defective Merry and Mr Horn, was universally in Bajazet. The latter is described by encored. Dowton's Justice Woodcock Rowe with the unbounded passions of was as it should be.
ambition, fierceness, pride, and cruelty: Dec. 4. “ The Revenge.” This
This the impatience and tyranny of his rage play was first published in the year must, potwithstanding, retain evidence 1721, and the stamp it then received of the pride to which he owes them; be from public taste remains unimpaired. should be fierce, but his fierceness We cannot speak of Mr. Kean's Zung should be awful: he should be cruel, with any degree of admiration, Dr. but his cruelly should be majestic: Young has drawn the character with terrific, in anger : impressive, in his too much grandeur for the appropriate
when he repines, frets, rages, exhibition of its present representative. curses, starts, blasphemes, or reproach. Zang, is by birth a prince, and his es, he should do ALL with a magnifi: calmly-meditated revenge on Alonzo cence of agony becoming the despair of originates in motives so powerful as a dethroned EMPEROR. This parallel almost to give the coloring of magnani- is very striking; and it will moreover mity to the dark subtleties by which lie extend to Mr. Kean's Olhello. He, it is eventually triumphs over his devoted true, in either character, sparkles with victim.
a tinsel splendour, that plays around the
fancy:--but, to captivate the judgment, 'Tis twice five years since that great man,
a classic poet must be illustrated by a (Great let me call him, for he conquer'd me,)
classic actor; and step, and port, and Made me the captive of his arm in fight. gesture must accord with chaste tone He slew my fatber, and threw chains o'er
and emphasis in embodying the poet's
imagination. The great error attributWhile I, with pious rage, pursued revenge, able to Mr. Kean is, that he does not I then was young: he placed me near his confine his genius to the species of hero person,
to which he is best fitted by nature. He And thought me not dishonoured by his aims to shine with too many rays, and service.
this variety detracts from his intuitive One day (may that returning day be night, The stain, the curse of each succeeding
splendours. — Alonzo and Carles are year)
mere shadows grouped in the back For something, or for nothing, in his pride ground of the painting to enforce the He struck me - while I tell it, do I live? nobility of the advanced figure: they, Hle smote me on the cheek- I did not stab nevertheless, claim talents of a superior him
order to keep up the general interest. That were poor revenge !
When Zanga's successful villany has
inflamed the Lord Alonzo's mind with The pious rage of the captive Prince, burning sparks of jealousy, the agonies therefore, draws its legitimale source
depicted by Mr. Rac were eloquently from his dependence on one who slew
emblematic of the awful progress antihis father, deprived him of his birth- cipated by Zange in the following soli, right to a throne, and dishonoured his
loquy sacred person by a blow: how unlike tbe base-minded dastardly impulse which
I have turo'd over the catalogue of humaa jostigates Iago! Mr. Kean, however, does not mark the distinct progress of
Which sting the heart of man, and find cone
equal; a lofty mind thirsting for boble revenge; It is the hydra of calamities! but represents Zanga with all the liulc. Oh! Jealousy ! each other passion's calm ness of lugo. On the contrary, when To thee, thou conflagration of the soul, Zanga first presents himself from the Thou King of torments, thou grand coudextremity of the stage, mantled in the terpoise mysteries of night, and 'rapt in the For all the transports beanty can inspire. still darker purposes of a famished soul Mr. Rae's every feature attuned with secretly piping for alimentary retributhe vast einotion of his labouring
breast, to give convulsive energy to the derogating from the varied strength of evident “ conflagration of his soul.” the vocal department of this house, He was equally successful in the bower, we consider Mrs. Jones a valuable acwhen alternately swayed by the con- quisition, though she evidently felt emtending passions of rage, of love, and barrassment at this her first appeal to a of despair. We never saw the charac- metropolitan audience. We hope to ter so prominent, and the applause of have frequent opportunities of witnessthe audience was reiterated by glowing ing this Lady's powers; as we think bursts of mental admiration. Mr. Wal- she possesses a combination of sweet lack gains ground daily: his Carlos is a souuds which may ultimately conduce chaste and meritorious effort, formed to perfect harmony. in a good school.
Dec. 17. “A new way to pay Old Dec. 5. “Lionel and Clarissa.” A Debts." Massinger's dramas are deciMiss Mangeon made her first appear. dedly the patale solumn of Mr. Kean's ance on any stage in the character of genius; we therefore feel some surprise Clarissa. She is a most interesting girl, at his neglecting the part of Luke, in and possesses much of the sweetness of which he acquired so much reputation. her tutor Mrs. Mountain. Her timi. Violent or subtle passions, pourțrayed dity was excessive-but she executed as they are by this author with a broad soine of her allotted airs with much and dashing pencil, suit the glare of skill: and we doubt not, that, when she colouring with which Mr. Kean exbi. becomes more familiar with her audi- bits them; and if neither be true to ence, she will do credit to the pains the refinements of Nature, each is true which have evidently been bestowed to the other. Sir Giles is a demon of upon her.
wealth, rioting in a tyranny of passi. Dec. 12. “ Macbeth." We should ons which degrade human nature, and be very glad to see a compliment paid to an excess which bounds beyond proto Mr. Kean's Mucbeth by our Corres- bability. In this excess Mr. Kean is poodent S.W.X.Y.; because it was on eminently successful. He clothes the this evening an improved appearance: character with every appropriate borbut we bave said so much on this sub- ror, in a way possibly never to be exject, and are so stubborn in our opini- celled. ons, that we cannot offer him praise Dec. 18. “Ramah Droog.” We took con amore, the way in wbich we always pleasure to point out the accurate disdesire to do Mr. Kean honour. - A new play of classic drapery and of Athenian farce, intitled “Nota Bene” was after. inagnificence with which Mr. Rae, the wards produced—and met with a similar Manager, so peculiarly decorated the fate to " Cry to-day, and laugh to revival of Timon, that the Scholar might morrow.” It was confusion confused; have traversed, io fancy, those splendid and, though the exertions of the per. abodes of art and of science which are formers were commensurate to the dis. immortalized by historical record. In approbation so loudly expressed, it did “ Ramah Droog," we find our admiranot meet with paramonni success. tion of his correct taste aud study still
Dec. 16. After the play of the "Iron more extended. The pageant of the Chest,” the musical opera of “Robin Rajah's return from hunting, is a faithHood," was revived, but cul down to an ful picture, to the very hem of every afterpiece. The curtailments are very garment, of the luxurious appendages judicious; and, as now represented, it of Eastern royalty. The audience was will doubtless prove a favorite. Mr. electrified, and applausc was reiterated Koight as Lillle John: Mr. Harley, as throughout the whole house. The CheRullekin; Miss Kelly, as Annette ; and lingoe of Muoden was in bis best style, Mr. Bellamy, as Robin Hood; each and his exertions were crowned with the supported their several characters with
success they so deservedly merited. a pleasing vivacity; while the part of Johostone's Liffey conveyed a richness Clorinda, by Mrs. Jones, from the Chel- peculiar to bimself; and Miss Kelly's tenham Theatre, her first appearance in Margaret was strictly characteristic of London, was rapturously applauded by the assumed heroine.' of the vocal deone of the most brilliant audiences of partinent we want language to express the season. The higher notes of this ihe zeal evinced by all —and though, Lady are very powerful, unmixed with some parts were cast more strongly barshness, and her lower tones are than others, each received deserved sweet, and generally correct. Without applause. Miss Merry improves on cvery appearance, and realizes our prog- and, with more confidence, may do nostic that she only wants familiariiy much. Mr. T. Cooke, Mr. Horn, Mr. with ber audience, to give upiversal Pyoe, and Mr. G. Smith, togetber with satisfaction : she frequently reminds us the strongest chorus ever collected, of the fascinating syren, Miss Stephens. formed a climax of scientificexecution, Miss Mangeon's articulation is good perhaps never surpassed on any stage.
1816. Nov. 20. King Richard the IIId.-Bridal of Flora- 10. Lionel and Clarissa--Raising the Wind. Midnight Hour.
11. Iron Chest - Bridal of Flora – Waidh 97. Iron Chest-Ditto-Woodman's Hot.
13. Magpie--Nota Bene-Irishman in Loe. 29. Guardian-Ditto-Cry to Day and Laugh
14. Iron Chest-Midnight Hour, so. Iron Chest-Ditto-Ditto.
16. Ditto-Robin Hood. Dec. 2. Ditto-Ditto Ditto.
17. New Way to pay Old Debts-Bridal of 3. Love in a Village-Ditto-Ditto.
Flora-Ditto. 4. Revenge-Dition-Niy Spouse and l.
18. Ramah Droog-What Next, 5. Lionel and Clarissa-Ditto Modern An
19. Ditto-Watch Word. tiques.
20. Dito- Mayor of Garratt. 6. Town and Country-Ditto-Watch Word.
01. Tron Chest--Robin Hood. 7. Iron Chest-Ditto-Midnight Hour.
ts, Ramah Drong-Raising the Wind, 9. Ditto-Ditto-Who's Who.
As Mr. Kemble is now going through glad to see Mr. H. Johnston after a the general range of his characters, there lapse of twelve years. He originally is pot so much novelty at this House, made bis London debut with much proand, consequently, our criticisms are misc; and indeed, had his good person very short. In our proposed “Sum. at that period been graced by a little mary" we shall make ample amends. more ease, his Douglas, and other
King John." From our earliest young heroes, might have been esteem. worship of Miss O'Neill as a pathetic ed five acting. His expression was actress, we have prayed that popularity always very powerful; insomuch that might never so dazzle her ambition as in pantomime we never felt tbe abto betray her into an attempted enac- sence of language. His return is tion either of Queen Katharine or of marked by a singular cast of characthe Ludy Constance. Of Charles Kem- ter we should never have expected ble's Falconbridge it is impossible to from him ; but, unless we mistake wonspeak with adequate admiration. And derfully, he has choseu well. As he is yet some few years back this Geotle- shortly to appear in Sir Perlinas Mec inan was wholly without promise. His Sycophant, we wish to defer our crinow chaste and manly personation of ticism to that period. It is an effort several characters, however, might most arduous, perhaps bordering on abisper this secret to the ear of fushion- temerity, still we anticipate great pleaable iaste—that an educated mind, per.. sure in witnessing his performance. severing with classic ardour, must, how- Dec. 13. “ Love, and the Toothever slowly, altain meridiau splendour, Ache.” There is nothing in this farce while a false pathos in utterance, how- which at all assimilates with its title. ever electric, must impoverish and It was certainly All-ATTRACTive, but eventually consume itself.
the allraclion is Grave ! Dec. 10.“ The Gainester." Mr. Mac- “ The Slase” continues to draw, ready appeared for the first time in the as well as the horses. The quadrupeds, character of Beverley, the merits of however, go into recess this mouth, which we consider to be quite out of his as well as Jobo Kemble. The latter theatrical grasp. Miss O'Neill's Mrs. loss is reconcileable we fancy : but the Beverley is beyond all praise : it is one former would be a metropolitan disof those exquisite touches of unassum- aster, if sentiment and expectation were ing pathos that insinuates through the not equally, on tip-toe for the new-birth throbbing pulses of every heart, and of Mr. Farley's genius iu a Christmas wholly subdues an auditory.
pantomime. Love-a-la-Mode." We were very