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meet the foreigner on level ground and have fair play. The difficulty is to effect it without the conversion of the Italian into an English theatre. It is not to be imagined that the patrons of the Opera could be induced to give up four evenings in the week to such an amusement. Two, divided between English and foreign, would remunerate neither the manager nor his troop. Some arrangement, however, which might lower the subscription and admission to both,-since, if the companies were doubled, a vast portion of the expense would be avoided,-appears to present the way out of this embarrassment. The deficit of the aristocracy might be compensated by the public at large; the subscription might be divided, first, at per annum for all the performances;-secondly, at per annum from the foreign or the English;-thirdly, for half of each. This expedient, with a diminution of the general price of admis→ sion, say the gallery to 3s., and the pit to 6s. or 7s., the boxes to 8s., would at once make the King's Theatre a profitable speculation, give to English opera and English ability a fair field, and afford to the public a better and cheaper accommodation.

The habit of going to the Haymarket is, as Falstaff says of instinct, a great matter;" for it is become from habit a sort of second nature to its frequenters. They cannot endure the less private, less elegant, less easy (if you please, less aristocratic and exclusive) accommodations of the English playhouses. Nor is it matter of wonder, when the difference between the two in all respects is compared.

And now let us inquire into what have been the claims of our English artists; for we hope to be able to prove that, even under all disadvantages, they have, in other and relevant branches of art, proved their title to pre-eminence in this, had their talents been rightly directed.

We say the first desideratum is a poet; and it will hardly be disputed that this our age has produced men capable of the highest elevation. Byron was, and Moore (to descend no lower) remains eminently gifted with the power to produce a fine lyric-dramatic poem: indeed, the exquisite delicacy of Mr. Moore's feeling and tact in setting words to music declares him to be the person best qualified, perhaps, of all who have ever existed, to write words for music; while the peculiar vein of imagination displayed in his "Lalla Rookh," and his "Loves of the Angels," declare how exquisitely powerful he would be in the portraiture of passion on the lyric stage. Had the meed been offered, it would have been won. Perhaps a new, and scarcely less admirable writer, of opera may be found in Mr. Bulwer. But let the sun shine, and the bees will come forth;-let fame and reward be attached to this species of composition, and genius will be attracted to its production. We have elevated our views to supreme excellence; but in this respect, if the competition with Italy alone be regarded, we might have contented ourselves with a far lower estimate; for what can be more contemptible than the libretti upon which Rossini's best operas are erected?

The next point is the composition. Here, if English genius have failed, it is because it has taken a wrong impulse. First, can any foreign opera of its age be said to exceed, or perhaps equal, the "Artaxerxes" of Arne? We might, indeed, go farther back. Matthew Lock's music of" Macbeth," and Purcell's songs in Dryden's plays, may challenge rivalry, for originality and power, with any such works of any times. Shield had a purity and a nationality (always taking into the estimate the

misdirection of musical effort in our mixed pieces of dialogue and song) that place him very high; and, discarding all others, we may, without shame, bring forward the immense range and ability of Bishop's productions*. He has written in all styles, for he has imitated all styles; but if he were asked why, he would perhaps reply, because, in the variable and uncertain state of the knowledge and praise of the art in England, it was necessary to his popularity. Had this acquisition (the one thing needful to an artist's getting his bread) been founded on that noble estimation which is derived from such judgments as regulate and reward the composers for the King's Theatre†; had he been induced to write for the same end, there can be little doubt that his fire would have been more intense and brilliant, because it would have been more concentrated and better supplied with that vital ingredient of general approbation-the fiat of an audience, "few, though fit," which is the real support of the flame of genius. That Mr. Bishop's name alone should be cited may appear somewhat invidious, when other composers have written much in a popular style, Mr. Braham ‡ especially. But we do not mean to exercise any exclusive partiality: we take the most prominent name, both for quantity, industry, and talent; and it should seem that we can adduce no stronger argument for the support of our general principle-the legitimate construction of opera-than the fact that our stage has been usurped for the last few years by adaptations of foreign pieces approaching this construction; which, though it does not amount to positive proof that such construction is absolutely necessary to success, gives very strong grounds for the belief that the height of passion and expression at which foreign composers have arrived is chiefly, attributable to that cause; and that English ability has failed in no small degree from the want of that concentration of the mind to musical effects alone which is generated by the continuous use of melody and harmony uninterrupted by dialogue.

We come next to consider the capacities of our artists. If we look at the list of the orchestra of the King's Theatre, we find it filled during its best period almost entirely by English professors. No one will doubt that the place of Sig. Spagnoletti, without derogating in the least from his acknowledged ability, would have been supplied to equal advantage by one English violinist, or by more than one. All the wind instru* In all cases due allowance must be granted for that predilection which is called national. Where can more beautiful things be found than Bishop's airs, " By the simplicity of Venus' Doves," "Sweet Home," "Bid me Discourse;" duets" On a Day," and As it fell upon a Day;" concerted pieces-" Blow, gentle Gales," "The Chough and Crow," " When the Wind blows," and "The Tramp Chorus If they lack the intense passion of the Italian dramatic pieces of Rossini, it is probably because the English do not feel, and consequently do not embody their feelings in music, in the same manner as the Italians. There is more depth, though less force.

It is a curious fact that, in this respect, the English houses have surpassed the Italian theatre. Bishop was for years engaged, at a regular salary, to compose operas expressly for Covent Garden, and he did compose more than sixty. No composer has been here, for very many years, engaged for the Haymarket, except Rossini, who undertook to write one opera, "Ugo RE d'Italia," and came over to do it in the season of Benelli's management, but departed RE infecta. Rossini has not written above half the number of pieces produced by Bishop.

He obtained the largest sum ever given for an English opera, probably six times as much as Rossini ever had for his highest-namely, 12507, for “The English Fleet."

ments are known to be pre-eminent-they may challenge all Europe. And where can be found the equal of the incomparable Lindley? Not a word more need be said upon this branch of the subject, except to point out that these, our first-rate talents, have invariably been employed at the foreign theatre, to support foreign vocalists and foreign composition. And why? Because the highest patronage of the country has enabled the impresario of the Italian Opera to pay better for less labour, whilst the eclat of a desk in that orchestra has been a not less seductive inducement to the artist.

But how do we stand in the comparison of vocal ability? Let us see. We will not go back beyond the memory of our own times; and then we may pronounce, unhesitatingly, that, under all disadvantages, England has exhibited talents which place her at least above dishonour in the contest. The whole continent has produced only three female artists of overshadowing powers since the beginning of the century-Catalani, Pasta, and Sontag. It is a question whether, all the attributes of a singer taken into the account, our Billington was exceeded by any of them. The surpassing compass, and the beauty and flexibility of her natural organ, was perhaps more than a match for the volume, richness, and force of Catalani, whilst in science the Italian was immeasurably below our countrywoman. Italia-bella Italia herself-acknowledged and worshipped at the shrine of the Tramontane. Pasta, it is true, combines extraordinary tragic power, and is thus elevated above any singer we can cite. Sontag was equalled by Mrs. Salmon in the exquisite delicacy of her tone; and in velocity the English stands as high as the German artiste. Mrs. Salmon was not, indeed, tasked in the same manner or degree, for she never tried her ability upon the stage. We speak, however, from a long and accurate knowledge of her powers, and we pronounce, without the least fear of contradiction, that she would execute any conceivable passage with a legerity and neatness, and, above all, with a beauty of tone and accuracy of intonation* that not even Sontag could equal in the first, or excel in the latter quality.

At the beginning of the century, we find even the Italian stage occupied by another native female, Storace. Like Billington, she had received the last polish in the true region of melody. We have, however, only to show that English genius is capable. Storace was a fine musician, with a coarse voice and limited organic endowments, but of strong sense. In the opera buffa of her time-for it has since assumed a decidedly different character-she was not exceeded.

We have before insisted on the necessary allowance for national style, and this given, we shall not omit amongst the vocalists, peculiarly and properly English, the name of Miss Stephens. With a voice of the loveliest kind-for that is the epithet that best describes the analogy between the visual sensation of beauty, of form, feature, and complexion, and the filling up of the sister sense of hearing by her full, round, pure, rich, and satiating tones, a sacred and homefelt delight," that belonged perhaps to her alone, and was in perfect accordance with Eng

* We have heard, with much concern, that Mrs. Salmon has been reduced to undeserved penury, and is now residing near London, in such a state of nervous depression as to be incapable of resuming her place in a public orchestra, although she sings with powers almost unimpaired in her own room. Her old professional associates should do something for her relief; the public would aid them.

lish notions and English sensibilities, was experienced by the hearer. No one ever gratified the general public more than Miss Stephens, because she was natural, chaste, and faultless, though she aspired not to move the heart by those violences which constitute the excesses, and for that very reason, the fascinations of the voluptuousness of Italian art. It is not within the scope of our intention to go below the most exalted members of the profession; for if it be established that England can confront the continent in its superiorities, there needs no proof as to the inferior departments. We may, however, adduce the fact that Mrs. Dickons maintained a most respectable position in the same opera ("Le Nozze di Figaro") with Catalani; and who, in her walk, has adorned the Italian stage more than Madame Vestris?

We shall rest our demonstrations as to masculine ability upon the one great artist of our age and country, Mr. Braham*. Has Italy produced his equal, lowered, as we are persuaded he has been, by his connexion with the English theatre, and by the infinite diversity to which he has turned his versatile abilities? If in knowledge and facility Garcia and Rubini, if in power Donzelli, have approached or rivalled him, can any of the three boast that aggregate of science, volume, tone, flexibility, invention, dignity, and (as a general term) expressiont, which he possesses? Well, then, in this department England has stood prominently out.

Our bass singers have been comparatively few and inferior compared with those of Italy. Bartleman is the only great exception. Experience will indeed, we fear, bear out the fact that foreign countries (Clementi named Russia in particular) produce nobler bass voices than our own. Sedgwick, who flourished at the close of the last century, is almost the only exception. But here we must take into consideration the superior employment given to this voice in the Italian lyric drama. For the last many years, owing to I know not what cause, the bass has had a predominant character in their operas; and it is not to be concealed that the style of the serious music written for this voice, and still more the comic, conduces to exalt its general excellence. Zuchelli, Lablache, and Tamburini, par eminence, are examples. Out of this, however, arises another strong incentive to raise our national opera by the legitimate construction. Here, then, we close our case. We trust we have established

The first time Weber heard Braham, he said to a friend, "This is the greatest singer in Europe!" It was in his scene from the "Freischutz." We have the anecdote from the person himself.

†The Italian maxim that "he who has a fine voice has ninety-nine out of the hundred requisites in singing," is a gross exaggeration; for mind has as much, or perhaps more, to do with the matter than organic power. Fine voices we have had in abundance; but where has the informing intellect, the directing sensibility, been found to employ them except in Braham? The more profound, the more difficult to move the affections, the more indispensable is the force of the understanding. It is this fact which renders English expression to an English audience so difficult. The few who really enjoy Italian singing are those who have learned to feel, and to think, and to express themselves like Italians,-the rest go with the herd; whereas every Englishman can judge of his own language and his own musical expression.

Lord Mount Edgcumbe, it will have been seen, assigns a scarcity of tenors as the

reason.

1st. That the legitimate construction of the lyric drama is most avourable to musical effects and musical talent.

2d. That owing to the misdirection of English talent, and more especially to the positive and declared encouragement given by the aristocracy of rank, wealth, and taste to foreign opera, and to the disdain, nourished alike by the misconstruction and the inferiority of the means of the English, and concentrated by the exclusive patronage, the native ability has been chilled and repressed, while the stigma of contempt and yulgarity has been set upon English composition and English execution. 3d. That even under these discouragements there have arisen instances of English ability quite equal to any single examples the continent has given us.

We have then the powers both by nature and art, if they are rightly applied and cherished. And although we are quite ready to admit that genius is commonly impulsive to work out its own ends, rather than that it can be swaddled and dandled into strength, we think it has been demonstrated that it is all but impossible for English opera to make head against the force which has kept and still keeps it down.

We regard the King's Theatre and its patrons as the only place, and the only sanction properly able to give it equal ground and fair play against its foreign competitor; and so long as two nights of the week are devoted to the Italian drama (there are often three) by the fashionable world, it is difficult to perceive how any diversion in favour of the English can be wrought; for, although it is not too much to desire, it is too much to expect from the patriotism of these, or indeed of any classes under the cosmopolite feelings of the present day, that they should relinquish an amusement which must now be admitted to enjoy a lofty supremacy, merely in the hope of elevating native talent to an equal height. It is, however, due to national honour that the experiment should be tried, and it might be tried at the King's Theatre, by the engagement of a poet such as Moore, a composer such as Bishop, and the singers we possess to bring out a legitimate opera, even were it done on an extra night. This plan is suggested because it can scarcely be imagined that a second Royal Academy can be established for the planting of an English opera; and, say what we will, it is as clear as practical demonstration can make it, that the fine arts can be reared only by the elegant in taste;-a distinction mainly (though not entirely) dependent upon rank, competency, leisure, and the consequent cultivation of the higher faculties.

*

Our conclusion is, then, that we possess all the requisite powers, if we had the patriotism, and the energy, and the judgment to employ them to so just and so natural an end as the nurture of native talent.

The country never was so bare as at present in this respect. Braham is in his decline, how should it be otherwise at the age of more than sixty ?—and there is not another native of any decided superiority. Mrs. Wood (the best woman) is in America.