^VjV^I /d&*^r/ ' . ll'VT OTffi A.i*' ? 
 
 : '
 
 LIBRAE
 
 MUSICAL 
 REMINISCENCES.

 
 MUSICAL 
 
 
 
 REMINISCENCES, 
 
 CONTAINING AN ACCOUNT OK 
 
 THE ITALIAN OPERA IN ENGLAND, 
 FROM 1773. 
 
 Cfje jFourllj ISUitton, 
 CONTINUED TO THE PRESENT TIME, 
 
 AND INCLUDING 
 
 THE FESTIVAL 
 
 IN 
 
 WESTMINSTER ABBEY. 
 
 BY 
 
 THE EARL OF MOUNT EDGCUMBE. 
 
 LONDON : 
 JOHN ANDREWS, OLD BOND STREET; 
 
 AND 
 
 F. H. WALL, RICHMOND, SURREY. 
 
 183i.
 
 PRINTED BY F. H. WALL, RICHMOND, SURKEY.
 
 CONTENTS. 
 
 Introduction Page ix 
 
 SECTION I. 
 
 17731778. 
 
 Earliest recollections Millico Rauzzinr Gabrielli 
 Pozzi Miss Davies Savoi Galli Roncaglia 
 Danzi Aguijari Giorgi .... 1 
 
 SECTION II. 
 
 17781783. 
 
 Pacchierotti Bernasconi Return of Roncaglia and 
 Madame Danzi Lebrun Ansani Maccherini 
 Return of Pacchierotti Prudom Comic Opera 
 Sestini Todi Allegranti Viganoni . . 12 
 
 SECTION III. 
 
 17831785. 
 
 Musical occurrences in a Tour through Germany, 
 France, and Italy Return to England Short notice 
 of the Opera Commemoration of Handel in West- 
 minster Abbey 29
 
 VI CONTENTS. 
 
 SECTION IV. 
 
 17861792. 
 
 Madame Mara Babbini Rubinelli Benini and 
 Mengozzi Storace Morelli Marchesi Burning 
 of the King's Theatre Opera at the Little Theatre in 
 the Haymarket Concert at the Pantheon Pacchi- 
 erotti returned Opera at the Pantheon Perform- 
 ances at the King's Theatre in the Haymarket 
 David Burning of the Pantheon Opera at the Little 
 Theatre Page 51 
 
 SECTION V. 
 
 17931802. 
 
 King's Theatre re-opened Mara, her departure and 
 subsequent return Banti Tour in Germany 73 
 
 SECTION VI. 
 
 18031813. 
 
 'TVIrs. Billington Grassini Braham Catalan! Tra- 
 mezzani Bertinotti Pantheon Theatre re-opened 
 with operas Retrospective view of the Comic Opera 
 Morichelli Bolla, &c 89 
 
 SECTION VII. 
 
 18141823. 
 
 Change of style in music and modern operas Rossini 
 Mozart Short account of the opera during this 
 period Camporese . . . . . 118
 
 CONTENTS. Vll 
 
 SECTION VIII. 
 
 Observations on English music Sacred music Glees 
 Mrs. Sheridan Mrs. Bates the Misses Abrams 
 
 Page 144 
 
 SECTION IX. 
 
 18241828. 
 
 Colbrun Catalan! Pasta Caradori Velluti 
 Sontag General Remarks and Retrospection 152 
 
 SECTION X. 
 
 18291834. 
 
 Introduction Farewell to Catalani Italian Opera 
 Malibran, Pasta, &c. German Opera French 
 Opera Giulietta Grisi, &c. . 197 
 
 SECTION XL 
 
 1834. 
 
 Musical Festival in Westminster Abbey Conclusion 
 
 222
 
 INTRODUCTION. 
 
 THE following pages owe their origin to a 
 correspondence on the subject of music, 
 and on the changes it has undergone of 
 late years ; in which were necessarily 
 introduced some details respecting the 
 former state of our opera, and criticisms 
 on the most celebrated performers who 
 brought it to its highest perfection. 
 These having raised some curiosity in 
 the friend to whom they were addressed, 
 I was induced to put them together in 
 a more regular form, and to write as 
 correct an account as my memory, na- 
 turally very retentive, could enable me 
 to do, of all the musical events that 
 have occurred during the long period 
 to which my remembrance extends, and
 
 X INTRODUCTION. 
 
 particularly of the Italian Opera in this 
 country. I accordingly began these Re- 
 miniscences, thereby yielding a good deal 
 to my own inclination, as the recollec- 
 tions I have been obliged to call back 
 have afforded me no small gratification, 
 having been passionately fond of music 
 while music was really good, and having 
 lived in what I consider as one of its 
 most flourishing periods. So great a 
 change has taken place within a few 
 years, that I can no longer receive from 
 it any pleasure approaching to that which 
 I used to experience. The remembrance 
 of the past is therefore infinitely more 
 agreeable than the enjoyment of the pre- 
 sent, and I derive the highest gratification 
 music can yet afford me from hearing 
 again, or barely recalling to mind what 
 formerly gave me such unqualified delight. 
 But though the taste of Italian professors, 
 as well singers as composers, is so much 
 altered (and in my opinion altered for the
 
 INTRODUCTION'. XI 
 
 worse), many English amateurs retain like 
 myself the love for the good old style, and 
 for the compositions of those excellent 
 masters which modern caprice has thrown 
 aside as obsolete, but which must ever be 
 considered by real judges as far superior 
 to the fantastical and trifling frippery of 
 the modern school. My remarks will no 
 doubt appear very old-fashioned, and it is 
 natural they should be so ; but if it were 
 possible to suppose they should be read 
 fifty years hence, I think it very probable 
 they would then be considered to be 
 founded in truth and justice ; as the 
 present fancifid style seems to be such as 
 must speedily pass away, and be replaced 
 by one more true to nature, more resem- 
 bling at least, if not quite reverting to, 
 that simpler kind, which must invariably 
 please all who are susceptible of feeling 
 the genuine, unsophisticated expression of 
 really fine music. But I am anticipating 
 what, if it is said at all, will find a more 
 proper place hereafter.
 
 Xll INTRODUCTION. 
 
 My principal object has been to give a 
 regular account of the Opera from the 
 earliest days in which I can remember it, 
 which I am enabled to do for so long a 
 space as fifty years : for I was carried 
 thither even in my childhood; as I ad- 
 vanced in years my taste for it increased, 
 and for the best portion of my life I was 
 one of its most constant frequenters. For 
 the last twenty years I have ceased to take 
 the same interest in it, and been but an 
 occasional even a rare visitor of the thea- 
 tre : for several seasons I have scarcely 
 entered its doors. As the good singers 
 disappeared, and remained unreplaced, as 
 the style of the compositions changed, and 
 as their execution deviated more and more 
 from what I had been accustomed to in 
 the golden age of the Opera, my curiosity 
 diminished with my pleasure, and though 
 both have latterly been occasionally re- 
 vived, yet I never expect to hear again 
 what I have done, or any new music, or 
 new singers, that will make me amends for
 
 INTRODUCTION. Xlll 
 
 those which are gone. Tastes are always 
 various, generally fluctuating : mine, which 
 was formed half a century ago, has not 
 wavered in the slightest degree down to 
 the present moment. According to that 
 taste, whether it may be esteemed good or 
 bad, I have ventured to give my opinion 
 on music and performers, past and present, 
 have detailed all I remember, and the 
 first impressions I received. Those are 
 always the most lasting, and not unfre- 
 quently the most correct; at least, on 
 mature consideration, I still think them so. 
 The epistolary style, in which these Re- 
 miniscences were begun, and which has 
 been in a great degree preserved, will 
 account for the diffuse, digressive, and 
 irregular manner in which they are writ- 
 ten, and for the introduction of some 
 anecdotes not strictly belonging to the 
 subject, which occurred to my recollection 
 as I proceeded ; as well as for the egotism 
 which may appear to prevail, and for the
 
 XIV INTHODUCTION. 
 
 relation of some occurrences purely per- 
 sonal. It is hoped however that the 
 curious on musical subjects may find some 
 information which may not be uninter- 
 esting; and (as I have more confidence 
 in my memory than my judgement) 
 those who differ with me in my opinions 
 and criticisms may at least place reliance 
 on the accuracy of the facts. 
 
 I trust that I have neither been unfair 
 in my remarks on performers, nor totally 
 wrong in my judgement on music in 
 general. In the former it has been my 
 object to give all praise where praise was 
 due, and where it could not be conferred 
 with justice to abstain as much as pos- 
 sible from censure by passing rapidly 
 over those who could not otherwise have 
 escaped it. In the latter I am well 
 aware that I shall seem prejudiced, and 
 that my opinion will be widely different 
 from that of all who admire the modern 
 style, because they never heard a better.
 
 INTRODUCTION. XV 
 
 But if any old professors, or old amateurs, 
 should ever read this book, I cannot but 
 flatter myself they would agree in most 
 of what I have said, and join in opinion 
 with me on the merits of those performers 
 of whom my panegyric may appear ex- 
 aggerated, but who so greatly excelled 
 those of latter days (with a few brilliant 
 exceptions) that I cannot but remember 
 them with delight, and speak of them 
 with warmth. 
 
 I may perhaps be accused of presump- 
 tion in entering into so much critical 
 dissertation on the science, for which I 
 am ill qualified, having no better 
 ground on which to form a judgement 
 than a tolerable ear, and long experience 
 of hearing the best music while it was 
 in its highest perfection. To this accu- 
 sation I must plead guilty ; nor was it my 
 original intention to go so largely into 
 such discussions. I undertook only to 
 write Reminiscences., but was insensibly led
 
 XVI INTRODUCTION. 
 
 away as I proceeded, by the interest I felt 
 in the subject. The writing of these 
 pages when I first began them, was at 
 least an agreeable occupation to myself, 
 and beguiled many a hour of a long and 
 tedious confinement, which not only tem- 
 porarily prevented my going to the the- 
 atre, but has disabled me from ever being 
 again its constant attendant, and though 
 curiosity has taken me thither a very few 
 times, unless some new and extraordinary 
 performance again excites it, I may never 
 see another opera.
 
 MUSICAL 
 REMINISCENCES. 
 
 SECTION I. 
 
 17731778. 
 
 Earliest recollections Millico Rauzzini j-Gabrielli 
 -V-Pozzi i-Miss Davies Savoi-V-Galli Roncaglia-J- 
 Danzi-^- Aguij ar H-Giorgi. 
 
 THE first opera which I have any the 
 slightest recollection of having seen was that 
 of Artaserse, in the year 1773, at which time 
 Millico was the first man.* Being then quite 
 a child, I could not in the least judge of his 
 
 * It may be convenient to mention here, that the 
 serious opera uniformly consisted of the following per- 
 sons: The primo uomo, soprano, prima donna, and 
 tenor ; the secondo uomo, soprano, seconda donna, and 
 ultima parte, bass. It had rarely more characters, and 
 chorusses were seldom introduced.
 
 MILLICO. 
 
 performance ; but his face and figure were 
 too remarkable not to make an impression 
 never to be entirely effaced, being of a singu- 
 larly dark complexion, ill made, and uncom- 
 monly plain in features. Of his merits I can 
 say nothing but that his reputation was still 
 high in Italy when I was in that country 
 many years afterwards. Fie published here 
 a collection of canzonettas, which are of 
 a most pleasing and graceful style. These 
 I frequently heard executed by Lady Clarges, 
 who had been his scholar, and was one 
 of the best amateur performers I ever 
 knew. She sung with all the science of a 
 professor, and with a taste the most polished 
 and refined. If she had adopted that of her 
 master, there can be no doubt of his having 
 been an excellent singer. The first woman 
 was, I believe, Grassi, afterwards married to 
 the composer Bach : she was succeeded by 
 Girelli. 
 
 I have a much more distinct recollection 
 of Rauzzini, who succeeded Millico in the
 
 RAUZZINI. O 
 
 season of 1774 and 1775, and remained at the 
 opera for three years, having had frequent 
 opportunities of hearing him after he had left 
 the stage. When he first sung in this country, 
 he was young and handsome, had an agree- 
 able countenance, and was an animated actor. 
 His voice was uncommonly sweet, and his 
 taste good, but his powers were rather limited. 
 He was a good musician, and composed several 
 operas performed here subsequently. One 
 only was brought out by himself, Piramo e 
 Tisbe, in which he acted with a German 
 woman named Schindlerin, a weak and mode- 
 rate performer. I heard her mentioned with 
 praise long afterwards in Germany as one 
 of the best singers of their national stage, 
 but did not see her. The other operas in 
 which these two singers appeared together, 
 were Armida and Montezuma, composed by 
 Sacchini. In the last, I well remember Rauz- 
 zini's acting to have been very fine and 
 effective in the dying scene. 
 
 In the second year of Rauzzini's engage-
 
 4 GABRIELLI. 
 
 ment, Schindlerin was succeeded by the cele- 
 brated Catterina Gabrielli, esteemed the best 
 prima donna of her time, and famous alike 
 for her talents and for her caprice. The latter 
 was so great that she could not be depended 
 upon ; and it was thought she never gave 
 herself the trouble to exert her great powers 
 to the utmost before an English audience. 
 Certain it is, that, whether from that or some 
 other cause, she was less enthusiastically 
 admired here than she had been in various 
 parts of the continent, and her success was so 
 moderate that she staid only for one season. 
 I can remember seeing her once in the opera 
 of Didone, but can say nothing of her per- 
 formance ; all I can recollect of it being the 
 care with which she tucked up her great hoop 
 as she sidled into the flames of Carthage. 
 Another opera she acted here was La Vestale, 
 which I likewise saw performed, but on that 
 night Catterina chose to be indisposed, and 
 to make her sister Francesca take her part ; 
 the latter was a miserable performer, whom
 
 DAVIES. 5 
 
 she carried every where to act as the seconda 
 donna, and occasionally as her double. 
 
 On her departure, a young singer named 
 Pozzi came to supply her place ; but though 
 handsome, and possessing a most brilliant 
 clear voice (bel metallo di voce), she was at 
 that time so unformed, both as a singer and 
 an actress, that she totally failed in her first 
 opera ; and Miss Cecilia Davies, who had 
 sung here before with Millico, was sent for 
 to resume her station for the remainder of the 
 season. After this degradation, Pozzi con- 
 tinued for some years in this country as the 
 second woman, and in that line was superior 
 to every other. On her return to Italy, she 
 improved rapidly, and soon became one of the 
 first singers in that country, as I shall have 
 occasion to notice hereafter. Miss Davies, 
 who, in Italy, was known by the name of 
 L'Inglesina, was the first Englishwoman who 
 had yet sustained the part of prima donna, 
 and in that situation was second only to Gabri- 
 elli, whom she even rivalled in neatness of
 
 6 RAUZZINI. 
 
 execution. Her elder sister played on the 
 harmonica, an improved kind of musical 
 glasses ; and in the last edition of Metastasio's 
 works is a cantata, written for the one sister 
 to sing, the other to accompany on that instru- 
 ment. When I was in Italy, I found Miss 
 Davies at Florence, unengaged, and poor. 
 The English there subscribed for a private 
 concert, at which both sisters performed. 
 She afterwards came again to England, but 
 being passee, did not succeed in obtaining 
 an engagement.* 
 
 After Rauzzini quitted the opera, he still 
 continued in, or returned shortly to, England, 
 and ultimately settled at Bath, where for 
 many years he conducted the concerts, singing 
 himself as long as his voice permitted, and 
 was in great reputation as a master, much 
 respected and patronized to his death, which 
 happened only a few years ago. 
 
 * This unfortunate woman is now (in 183-1) living 
 in London, in the extreme of old age, disease, and 
 poverty.
 
 GALLI. 7 
 
 During part of the time of which I have 
 been speaking, the second man was Savoi, 
 whose voice was of so singularly beautiful 
 and peculiar a tone, that when I was in Italy, 
 going by chance into a church at Sienna 
 during high mass, I was struck with sounds 
 so sweet, yet, as I thought, not new to my 
 ear, that I could not help inquiring the name 
 of the performer, and found they proceeded 
 from Savoi. 
 
 The part of second man was frequently 
 filled also by Signora Galli, her figure being 
 rather large and masculine, and her voice a 
 contralto. She had been a principal singer in 
 Handel's oratorios, when conducted by him- 
 self. She is however only mentioned here on 
 account of some subsequent circumstances of 
 her life. She became the companion of the 
 celebrated Miss Ray, and was with her when 
 she was assassinated by Hackman. That un- 
 happy young man, instigated by jealousy, 
 though he knew his love to be perfectly hope- 
 less, shot her with a pistol as she was entering
 
 8 GALLI. 
 
 her carriage, at Covent Garden Theatre, and 
 then fired a second at himself. Her wound 
 was instantly mortal, but his own was slight, 
 and he was tried and executed for the murder. 
 Galli afterwards fell into extreme poverty, 
 and at the age of about seventy, was induced 
 to come forward to sing again at the oratorios. 
 I had the curiosity to go, and heard her sing 
 " He was despised and rejected of men" in 
 the Messiah. Of course her voice was cracked 
 and trembling, but it was easy to see her 
 school was good ; and it was pleasing to observe 
 the kindness with which she was received, and 
 listened to ; and to mark the animation and 
 delight with which she seemed to hear again 
 the music in which she had formerly been a 
 distinguished performer. The poor old wo- 
 man had been in the habit of coming to me 
 annually for a trifling present ; and she told 
 me on that occasion that nothing but the 
 severest distress should have compelled her 
 so to expose herself, which after all did 
 not answer its end, as she was not paid
 
 DANZL. 
 
 according to her agreement. She died shortly 
 after. 
 
 To return from this digression. At the 
 close of Rauzzini's engagement, his place was 
 filled by Roncaglia, his inferior in every re- 
 spect. His figure was good, and he was far 
 from ill-looking ; his voice sweet, and his 
 style easy and grazioso : but he was languid, 
 feeble, and insipid, and withal extremely af- 
 fected. Yet he gave so much pleasure on 
 his first appearance, in Sacchini's opera of 
 Creso, that as he was under engagement to 
 return to Italy the next year, he was hastily 
 re-engaged for the next season but one, be- 
 fore it was known how his immediate suc- 
 cessor would be liked. With him came Danzi 
 as first woman. Though her name was Italian, 
 she was a German, and had never been in 
 Italy. She was young, well-looking, had a 
 voice of uncommon clearness and compass, 
 capable of the most astonishing execution, 
 and was an excellent musician. Yet her 
 performance was unsatisfactory, being too 
 B 5
 
 10 AGUIJARI. 
 
 much alia Tedescha, and more like that of an 
 instrument than of a human voice. She soon 
 after married Monsieur Lebrun, an eminent 
 player on the hautbois, which confirmed her 
 in the bravura style, as she was in the habit of 
 singing songs with an obligato accompaniment 
 for that instrument, in which the difficulties 
 performed by both were quite astonishing, 
 each seeming to vie with the other which 
 could go highest, and execute the most rapid 
 divisions. After performing in Erifile, also 
 by Sacchirii, and other operas, she, as well as 
 Roncaglia, left England after one season, but 
 like him was re-engaged for the next but one. 
 About this time another singer in the won- 
 derful line was performing in the concerts at 
 the Pantheon, by name Aguijari. I heard 
 her in private, but can say only from report 
 that her voice was one of the finest and 
 most powerful ever heard, and her execution 
 almost miraculous. She never performed at 
 the opera in this country, where she staid but 
 a short time, and was succeeded at the
 
 GIORGI. 11 
 
 Pantheon by a young, and then very inferior 
 singer, with no recommendation but a very 
 beautiful voice, promising future excellence. 
 This was Giorgi, by which name she was little 
 known, but of whom I shall have much, very 
 much, to say hereafter, under that of Banti. 
 
 And here ends my dark age in operatical 
 history : henceforth I shall speak with con- 
 fidence, from the clearest and most distinct 
 recollection.
 
 152 PACCH1EUOTTI. 
 
 SECTION II. 
 
 17781783. 
 
 Pacchierotti Bernasconi Return of Roncaglia and 
 Madame Danzi Lebrun Ansani -^- Maccherini 
 Return of Pacchierotti Prudom-t-Comic Opera 
 \ Sestini (-Todi-ii-Allegranti Viganoni. 
 
 FROM the period on which I am now enter- 
 ing I date the commencement of my decided 
 taste for music, which (young as I was) I 
 now began to love and to feel : for in the 
 season of 1778 and 1779, arrived Pacchie- 
 rotti, decidedly, in my opinion, the most 
 perfect singer it ever fell to my lot to hear. 
 I must enter into some detail respecting him. 
 
 Pacchierotti's voice was an extensive so- 
 prano, full and sweet in the highest degree ; 
 his powers of execution were great, but he 
 had far too good taste and too good sense to 
 make a display of them where it would have
 
 PACCHIE11OTT[. 13 
 
 been misapplied, confining it to one bravura 
 song (aria di agilita) in each opera, conscious 
 that the chief delight of singing, and his own 
 supreme excellence, lay in touching expres- 
 sion, and exquisite pathos. Yet he was so 
 thorough a musician that nothing came amiss 
 to him ; every style was to him equally easy, 
 and he could sing, at first sight, all songs of 
 the most opposite characters, not merely with 
 the facility and correctness which a complete 
 knowledge of music must give, but entering 
 at once into the views of the composer, and 
 giving them all the appropriate spirit and 
 expression. Such was his genius in his em- 
 bellishments and cadences, that their variety 
 was inexhaustible. He could not sing a song 
 twice in exactly the same way ; yet never did 
 he introduce an ornament that was not judi- 
 cious, and appropriate to the composition. 
 His shake, then considered an indispensable 
 requisite, without which no one could be es- 
 teemed a perfect singer, was the very best 
 that could be heard in every form in which
 
 14 PACCHIEROTTI. 
 
 that grace can be executed: whether taken 
 from above or below, between whole or 
 semi- tones, fast or slow, it was always open, 
 equal, and distinct, giving the greatest bril- 
 liancy to his cadences, and often introduced 
 into his passages with the happiest effect.* 
 As an actor, with many disadvantages of per- 
 son, for he was tall and awkward in his 
 figure, and his features were plain, he was 
 nevertheless forcible and impressive : for he 
 felt warmly, had excellent judgment, and 
 was an enthusiast in his profession. His 
 recitative was inimitably fine, so that even 
 those who did not understand the language 
 could not fail to comprehend, from his coun- 
 tenance, voice, and action, every sentiment 
 he expressed. As a concert singer, and par- 
 ticularly in private society, he shone almost 
 more than on the stage ; for he sung with 
 
 * This, perhaps the most beautiful of graces, is now 
 entirely lost in Italy: not one singer of that country 
 so much as attempts it. From the English it still is 
 heard, and often in great perfection.
 
 PACCHIEROTTI. 15 
 
 greater spirit in a small circle of friends, 
 and was more gratified with their applause, 
 than in a public concert room, or crowded 
 theatre. I was in the habit of so hearing him 
 most frequently, and having been intimately 
 acquainted with him for many years, am en- 
 abled to speak thus minutely of his perform- 
 ance. On such occasions he would give way 
 to his fancy, and seem almost inspired : and 
 I have often seen his auditors, even those the 
 least musical, moved to tears while he was 
 singing. Possessing a very large collection 
 of music, he could give an infinite variety of 
 songs by every master of reputation. I have 
 more than once heard him sing a cantata of 
 Haydn's, called Arianna a Naxos, composed 
 for a single voice, with only a piano-forte ac- 
 companiment, and that was played by Haydn 
 himself; it is needless to say the perform- 
 ance was perfect. To this detail of his merits, 
 and peculiar qualities as a singer, I must 
 add, that he was a worthy, good man, modest 
 and diffident even to a fault ; for it was to
 
 16 BEUNASCONI. 
 
 an excess that at times checked his exertions, 
 and made him dissatisfied with himself, when 
 he had given the greatest delight to his 
 hearers. He was unpresuming in his man- 
 ners, grateful and attached to all his numerous 
 friends and patrons. 
 
 The first appearance of Pacchierotti in this 
 country, was in Demofoonte (a pasticcio), in 
 which he sung four songs in different styles, 
 by as many different composers, which showed 
 his versatile talents to the greatest advantage, 
 and at once established his reputation. 
 
 The first woman, who made also her first 
 appearance in this opera, was Bernasconi, a 
 good musician, and correct skilful singer ; 
 but her voice was not powerful, and she was 
 past her prime : she was a good actress, with 
 but an indifferent figure. The tenor, a Ger- 
 man, named Ademberger, had a disagreeable 
 nasal voice, but sung with considerable science. 
 In this opera, Pozzi was second woman, 
 and a young man with a good bass voice, 
 made his debut as ultima parte. This was
 
 BERNASCOXI. 17 
 
 Rovedino, who passed the greatest part of 
 his life in tin's country, and was employed 
 at the opera till he quitted the stage, proving, 
 if not a first rate, at least a useful performer, 
 both in serious and comic operas. He died 
 at an advanced age some years ago, leaving 
 several children, all musical. One of his 
 daughters, who is dead, was for a long time 
 second woman ; she married Weichsell, the 
 brother of Mrs. Billington, and celebrated 
 violin player, who at a subsequent period led 
 the orchestra for many years. 
 
 In consequence of the re-engagement of 
 the singers of the former season, Pacchierotti 
 went away at the end of this, in the summer 
 of 1779, but Bernasconi remained for one 
 more, condescending (for then it was so 
 esteemed) to take the part of first woman 
 in the comic opera, which she performed ad- 
 mirably : Danzi, now become Madame Le- 
 brun, being again the prima donna for the 
 serious, and Roncaglia resuming his place, 
 but with far different success from the first
 
 18 ANSANI. 
 
 time. Coming after Pacchierotti, his insi- 
 pidity and poverty were more apparent, and 
 not so well endured. To add to his disgrazia, 
 Ansani, a new tenor, then made his first ap- 
 pearance, and quite eclipsed the primo uomo. 
 This performer had a finely toned, full, and 
 commanding voice, was a spirited actor, and 
 in the first opera, called Ricimero, sustained 
 the most prominent and important part. But 
 he was unfortunately of a most peevish, 
 quarrelsome temper ; Roncaglia was saucy 
 and conceited, and neither could brook the 
 superiority claimed by the other. Their mu- 
 tual jealousy, and the importance assumed by 
 the tenor, soon produced an irreconcileable 
 breach, Ansani threw up his engagement, and 
 the season went on heavily to its close for 
 want of him. When it was ended, Roncaglia 
 went away. 
 
 The next season was far more brilliant, 
 indeed one of the best I ever remember. Pac- 
 chierotti returned, Madame Lebrun retained, 
 Ansani restored to his situation (willingly
 
 MACCHERINI. 19 
 
 yielding the pas to Pacchierotti's undisputed 
 pre-eminence), Pozzi second woman, and 
 Manzoletto, a very tolerable singer for second 
 man, formed altogether a capital company, 
 and its success was proportionable to its 
 merit. 
 
 The three or four following seasons were 
 not equally successful. Pacchierotti indeed 
 remained, but Madame Lebrun went away, 
 nor was her place ever well filled during the 
 rest of his stay, which was prolonged to the 
 end of the season of 1 784. Her first successor 
 was Maccherini, whose reputation was high in 
 Italy. She was the wife of Ansani, but never 
 couple was less harmonious ; her temper was 
 full as bad as his, and they never could agree, 
 either on or off the stage. She not arriving 
 in time for the beginning of the season, Pru- 
 dom, a young singer engaged in lieu of Pozzi 
 for second woman, was put temporarily into 
 her place. At length the long expected and 
 much praised Maccherini made her appear- 
 ance, and never was expectation more com-
 
 20 PRUDOM. 
 
 pletely disappointed. Her voice was a mere 
 thread, scarcely audible yj the orchestra, and 
 her performance in every respect (like her 
 countenance) miserable in the extreme : so 
 that she was laid aside for ever after a few 
 nights, and a fine opera called Giunio Bruto, 
 in which her husband and Pacchierotti played 
 the parts of the father and son, necessarily 
 abandoned. Her failure was, of course, attri- 
 buted to the climate, which it was said had 
 destroyed her voice ; but I heard her a few 
 years after in Italy, when she had not in the 
 least recovered it, so that it may be presumed 
 it never had existed. Prudom again took the 
 first place for the remainder of the season, and 
 gave great pleasure by the sweetness of her 
 voice, and her chaste good style of singing. 
 She was too young to be a finished or scien- 
 tific performer, but had she lived might have 
 become one ; unfortunately she died here at 
 a very early age. For a time she sung at 
 Drury Lane Theatre, where she first appeared 
 in the Lord of the Manor. I mention this 

 
 PRCDOM. 21 
 
 only to record the singular circumstance that 
 in this opera the celebrated Miss Farren, who 
 continues to be as^mch respected and be- 
 loved in the high rank she now holds in 
 society as she was admired when at the height 
 of her professional excellence, performed a 
 secondary part both as actress and singer. 
 The latter character she soon abandoned, but 
 many still remember with delight, and all 
 must have heard of, her unrivalled talents as 
 the first of comic actresses. When she left 
 the stage, genteel comedy became extinct.* 
 
 To return to the opera. The next attempt 
 to procure a first woman proved almost as un- 
 successful as the last, Morigi (daughter of a 
 buffo of that name then in England), being 
 nearly as feeble as her predecessor. Another 
 was tried in her stead, but all to no purpose. 
 A third, named Lusini, had little better suc- 
 cess in the following season, but her I never 
 
 * She has now left the stage of the world. The 
 Countess of Derby died a few years ago, as much 
 lamented as she was beloved.
 
 2% PACCHIEROTT1. 
 
 heard, having gone abroad for two years in the 
 summer of 1783. 
 
 The operas most admired during the seasons 
 I have been speaking of, were the Rinaldo of 
 Sacchini, 1'Olimpiade, and Ezio, pasticcios, 
 Quinto Fabio by Bertoni, master of the Con- 
 servatorio dei Mendicanti at Venice, 1'Eroe 
 Cinese by Rauzzini, and others which do not 
 occur to me, or which I never heard. 
 
 Most of these were sustained by Pacchie- 
 rotti's talents alone, for, as has been shown, 
 he was in general miserably supported. Yet 
 the managers deserved not all the blame that 
 was thrown upon them, and were less in fault 
 than unfortunate in the failure of so many 
 prima donnas. The fact was, that there was 
 at that time no very great female singer in 
 Italy, those of former celebrity being on the 
 decline, and only two young promising per- 
 formers rising to eminence in their stead. 
 These were Pozzi, who returned no more to 
 England, and Giorgi Banti, as she was called 
 after her marriage, whose name began to be
 
 SESTINI. >i;> 
 
 talked of, and who shortly after became so 
 justly famous. 
 
 I must now, before I proceed farther, re- 
 turn back to my earliest recollections, in order 
 to give some account of the comic opera, 
 which hitherto I have not noticed, that the 
 more important department might not be 
 interrupted.* 
 
 The earliest singer I remember in that line 
 was Sestini, who at her first coming over was 
 handsome, sprightly, and a good actress, if 
 great exuberance of gesticulation, activity of 
 motion, and affected Italian smorfie could make 
 her one ; but her voice was gritty and sharp 
 (something like singing through a comb), and 
 she was nothing of a singer, except for lively 
 comic airs. Yet she was much liked at first, 
 and long a favourite with the mass of the 
 
 * The company for the comic opera consisted of the 
 primo buffo, tenor, prima buffa, buffo caricato, bass, 
 seconda buffa, and ultima parte, bass. There were also 
 the uomo serio, and donna seria, generally the second 
 man and woman of the serious opera.
 
 524 SESTINI. 
 
 public, though not with the connoisseurs. She 
 was first woman for many years, then, in the 
 decline of her voice, became second ; sung 
 at intervals at Covent Garden and the little 
 theatre in the Haymarket ; in short, conde- 
 scended to every thing to keep herself from 
 starving, and constantly remaining in England, 
 died here at last in great poverty. 
 
 The first buffo with Sestini was Trebbi, a 
 moderately good performer, who occasionally 
 was employed also as tenor in the serious 
 opera, when others failed, as on the defection 
 of Ansani, and the death of a young man 
 of great promise who sung in the time of 
 Rauzzini. 
 
 One of the most favourite operas in which 
 these singers performed was, La Buona Figli- 
 uola of Piccini, the music of which was charm- 
 ing, but it had been so much better sung 
 before by Guadagni and Lovattini, that nothing 
 was heard but lamentations for their loss, and 
 comparisons to the disadvantage of the present 
 performers. Lovattini was celebrated for the
 
 SESTINI. 25 
 
 most beautiful of tenor voices, and for his ex- 
 cellent acting. I never heard him, though he 
 did not, I believe, leave England till the end 
 of the season of 1 774 ; but I saw in the pave- 
 ment of a church at Bologna, a small square 
 stone, inscribed with the three words, " Qui 
 giace Lovattini." Guadagni was sister of a 
 singer, of whom I shall have occasion to speak 
 hereafter. The buffo caricalo was Morigi, 
 who then was excellent. He returned to 
 England, and passed many years here, per- 
 forming till he had lost his voice. 
 
 The Buona Figliuola was revived very many 
 years after by Catalani ; but the taste was so 
 changed, that the old music, rather quaint 
 and odd, it must be confessed, to modern ears, 
 was no longer relished, and did not succeed. 
 It was but indifferently sung, even by that 
 great singer herself. 
 
 Paesiello's Frascatana, another opera of 
 that time, has always had better success : the 
 music is de tout age, and has given great plea- 
 sure in many subsequent revivals by Storace, 
 c
 
 20 ALLEGRANTI. 
 
 Catalan!, and other singers ; and it ever must 
 do so to all (though small is now the number) 
 who can yet admire simple and natural me- 
 lody. Such was the estimation in which this 
 opera was held in Italy, that I have been told 
 it was always brought forward on the failure 
 of any new one, as sure to appease a dissa- 
 tisfied audience. 
 
 When the public began to tire of Sestini, 
 Todi was engaged in her stead, but failed to 
 please here, though admired on the continent, 
 and was kept only one season. A tenor named 
 Jermoli was equally unsuccessful. Bernas- 
 coni then became first buffa for one year, with 
 Trebbi, and Pozzi was occasionally put into 
 first parts, particularly in Gretry's Zemire et 
 Azor (to Italian words), with Manzoletto as 
 first man, and Rovedino for the bass. 
 
 These moderate performers were at length 
 succeeded by one who was enthusiastically 
 admired in her first opera, the Viaggiatori 
 Felici of Anfossi, by name Allegranti. She 
 had a voice which, though thin, was extremely
 
 VIGANONI. 27 
 
 sweet, of extraordinary compass upwards, and 
 so flexible that she executed with ease very 
 rapid divisions, and consequently indulged in 
 a flowery style of singing, which had the merit 
 of considerable novelty : she was also a good 
 actress. But it was soon found that there 
 was a great sameness in her manner and 
 embellishments, and with more than our usual 
 fickleness, she was less liked in every subse- 
 quent opera, and so disregarded by the end of 
 the second season that she went away. With 
 her had come Viganoni, who at that time made 
 little effect, and also left the country ; but 
 after an absence of some years he returned, 
 and for many more was first tenor both in the 
 serious and comic opera. He will be men- 
 tioned more particularly hereafter. 
 
 These performers were replaced by others 
 very much their inferiors, but I never heard 
 them, as they remained only one season, during 
 which I was abroad. The woman's name was 
 Dorta ; the tenor of no reputation ; but Tasca,
 
 28 VIGANONI. 
 
 a bass, was good enough to be retained for a 
 year or two more. 
 
 I must here break off my account of the 
 opera at home, and before I resume it, will 
 relate the principal musical occurrences of my 
 tour on the continent.
 
 FOREIGN TOUR. 29 
 
 SECTION III. 
 
 17831785. 
 
 Musical occurrences in a Tour through Germany, 
 France, and Italy Return to England Short notice 
 of the Opera Commemoration of Handel in West- 
 minster Abbey. 
 
 THE first place at which I made any stay 
 was Spa, where the national and theatrical 
 music could afford no pleasure ; but it so 
 chanced that Pacchierotti came thither also 
 at the same time to pass a few weeks during 
 the opera recess, and I had the gratification 
 of hearing him sing in private almost daily, 
 which was always a delightful treat. He gave 
 one public concert, but it was not so well 
 attended, nor himself as much admired as he 
 deserved to be, which was hardly to be won- 
 dered at, considering that a great part of the
 
 30 GERMANY. 
 
 audience was French, who then could like no 
 music but their own. 
 
 Proceeding into Germany, the first Italian 
 opera I heard was at Brunswick, where there 
 was a company of second-rate performers, of 
 whom, however, the first man and woman 
 were very tolerable. During my short stay 
 they acted a serious and a comic opera : the 
 former was the Giulio Sabino of Sarti, which 
 I shall have to notice more particularly. 
 
 At Berlin there was a company of a superior 
 description, in the constant pay of the king, 
 but no operas were ever acted except in the 
 carnival. The first woman of it was Todi, 
 whom we had so lightly esteemed ; but who 
 was there spoken of with rapture. I had no 
 opportunity of hearing her, but had that of 
 seeing the first man, Concialini, next to whom 
 I found myself seated at a table d'hote. He 
 too was often spoken of with great praise. 
 
 At Dresden there was a very good comic 
 opera, headed by Allegranti, who remained 
 a permanent favourite there as long as the
 
 GERMANY. 31 
 
 court could afford to keep up that spectacle : 
 and happy would it have been for her if she 
 had never been obliged to leave that place ; 
 for, many years after, she in an evil hour 
 came again to England, and re-appeared in 
 Cimarosa's Matrimonio Segreto. Never was 
 there a more pitiable attempt : she had scarce- 
 ly a thread of voice remaining, nor the power 
 to sing a note in tune : her figure and acting 
 were equally altered for the worse, and after 
 a few nights she was obliged to retire, and 
 quit the stage altogether. Of course again 
 our climate, not her age, was blamed for the 
 total loss of her voice ; but she was at least 
 remembered to have had one, and was looked 
 upon only with compassion. 
 
 In passing through Prague, I heard an opera 
 performed by singers almost below medio- 
 crity, but the opera itself was so delightful 
 that it could not but give pleasure. It was 
 Le Nozze di Dorina; or, Frk due litigani il 
 terzo gode, the chef-d'oeuvre of Sarti in the 
 buffo, as Giulio Sabino is in the serious style.
 
 > GEItMANY. 
 
 I often heard both afterwards executed in a 
 very different manner. 
 
 At Vienna, where I passed all the winter, 
 there was no serious opera, but a most ex- 
 cellent set of singers for the comic, consisting 
 of Ademberger and Viganoni, who had been 
 in England, Benucci and Kelly, who afterwards 
 came thither, Mandini, an excellent buffo, and 
 Storace, first woman, with several very good 
 both male and female performers for the se- 
 condary parts. Storace in a few years after 
 returned to this her native country, which 
 she never left again. She will be frequently 
 named, and her merits detailed, at a future 
 period. I also there heard once more Ber- 
 nasconi, who had settled in that city, not 
 engaged at the opera ; but she gave a few 
 representations, at a theatre not usually open, 
 of the Alceste and Ifigenia in Tauride of 
 Gluck, both of which were subsequently per- 
 formed at our opera, and of a comic opera 
 called La Contadina in Corte, which she had 
 acted here with success.
 
 ITALY. iiO 
 
 After spending the winter at Vienna, I went 
 in the spring of 1784 to Venice, for the fair of 
 the Ascension, on which occasion there is 
 always an opera, but this year it was very 
 moderate. Porri, the first man, was a very 
 indifferent singer, and a German named Fis- 
 cher and his wife, who were the tenor and 
 first woman, not much better. The opera 
 performed was Ademira, by Tarchi. 
 
 But if the theatrical performances disap- 
 pointed me, I received very high gratification 
 from attending those of the Conservatorio dei 
 Mendicanti, where, on the evenings of Sun- 
 days and holy-days, oratorios were performed 
 in the chapel. Not only all the vocal, but the 
 instrumental parts were executed by women, 
 concealed from view in a grated gallery. Their 
 performance was perfect, and some of the 
 voices exquisitely beautiful, in every pitch of 
 which the female organ is capable. The ora- 
 torio I heard was that of Sampson, in Latin, 
 the composition of Bertoni, by whose favour 
 a party of English was admitted into the 
 c 5
 
 34 ITALY. 
 
 interior, to a morning concert, when we had 
 not only the pleasure of hearing a delightful 
 selection of music, but the almost incredible 
 sight of an entire orchestra of female per- 
 formers. There were at this time four of these 
 musical academies at Venice, of which that 
 of the Mendicanti was esteemed the best, on 
 account of the excellence of its master. The 
 young women educated in them rarely went 
 upon the stage when they quitted the es- 
 tablishment, but I have met with more than 
 one female player on the violin who had 
 received their instruction in them. 
 
 I must here add that in other towns of 
 Italy, particularly at Florence and Rome, I 
 derived great pleasure from the performance 
 of similar sacred dramas in the chapels of 
 the Padri del Oratorio. 
 
 In passing through Padua, I went to a grand 
 mass in the church of St. Antonio, when, it 
 being Whit Sunday, and of course a festival, 
 I had the good fortune to hear a motetto, or 
 anthem, sung by Guadagni, of whom I had
 
 ITALY. 35 
 
 heard very much, as he had for a long time 
 been a great favourite in England, which he 
 left in the year 1771. When he sung as first 
 man at our opera he was uncommonly hand- 
 some, and a remarkably good actor ; Garrick 
 himself having taken pains to instruct him. 
 His voice was then a soprano of the finest 
 description, and his performance, particularly 
 of Orfeo, was described as having been 
 delightful. He was now advanced in years, 
 and sung as contralto : his voice was still full 
 and well toned, and his style appeared to me 
 excellent. He belonged to the choir of the 
 church in which I heard him, where alone he 
 ever sung, and that only on a few particular 
 occasions. As he retained a great partiality 
 for England, and had been much noticed by 
 my family, he no sooner heard I was in the 
 town than he came to call upon me, and in- 
 sisted on my taking coffee at his house, where 
 he entertained me, not with singing, which I 
 should have liked much better, but with ex- 
 hibiting fantoccini on a little stage, in which
 
 36 ITALY. 
 
 he took great delight. I learnt lately that 
 he died one year after I saw him. 
 
 Quitting Italy for the summer, 1 went to 
 Paris, where, as there was at that time no 
 Italian Opera, music could give me little plea- 
 sure. Though some of the lighter French 
 pieces are pretty, the grand opera to all ears 
 but French can only give pain. The principal 
 singer, Madlle. Saint-Huberti, was absent, but 
 I found her at Lyons, where I saw her per- 
 form several times. She was a fine actress, 
 and in her singing a little less violent and 
 extravagant than the generality of French 
 singers, but still had too much of the national 
 style. I heard her once more in private many 
 years after, in England, when she was become 
 Comtesse d'Entragues, and an emigree. Her 
 voice, then moderated to the room, and pro- 
 bably weakened by age, was far from dis- 
 agreeable, and she was a very good musician. 
 Her end was shocking. She and the Count, 
 her husband, were both assassinated at 
 their villa at Barnes by an Italian servant,
 
 ITALY. 01 
 
 who immediately destroyed himself, being 
 prompted to the deed by malice, not by the 
 desire of plunder. She left one son, now 
 Comte d'Entragues. 
 
 During my slay at Paris, one Concert spiri- 
 tuel took place in the old theatre of the Tuil- 
 leries, at which, for the first time, I heard 
 Madame Mara, just then returned from Eng- 
 land, where she had performed at the com- 
 memoration of Handel, at Westminster Abbey. 
 Amongst other things, she sung, " I know 
 that my Redeemer liveth," which was an- 
 nounced in the bills as being musique de 
 Handel, paroles de Milton. The French had 
 not the taste to like it. A full account will 
 be given hereafter of that singer. 
 
 I re-entered Italy in the following autumn, 
 and landing at Leghorn from Genoa, found 
 an opera in that town, but it was very indif- 
 ferent, with Porri for first man, Scovelli, a 
 bad tenor, whom I had left in England, and a 
 woman not worth remembering. 
 
 At Florence, the opera was no better, nor
 
 38 ITALY. 
 
 can I recollect the name of any one of the 
 singers except Bruni, the first man, who after- 
 wards sung for one season in England. 
 
 In the beginning of the carnival at Rome, 
 four or five theatres were opened, of which 
 two were for serious operas. There I found 
 both Roncaglia and Ansani, but now they 
 could not clash, being at different theatres ; 
 the former at that of Argentina, with an ex- 
 cellent tenor, Mombelli, the latter at the 
 Aliberti, with Porri for first man. The opera 
 performed at the last was Giunio Bruto, which 
 came to so untimely an end here. At that 
 time no female was permitted to appear on 
 the stage at Rome in any character whatever, 
 operatic, dramatic, or dancing. In the singing 
 parts, therefore, sopranos were employed 
 as their substitutes, generally the youngest, 
 and, consequently, not the best, being chosen 
 for their looks rather than their ability. At 
 one of the smaller theatres, however, the 
 part of first woman in an intermezzo, per- 
 formed between the acts of a comedy, was
 
 ITALY. 39 
 
 filled by a very promising young singer, 
 named Martini, who became in time one of 
 the best first men, and from his birth-place, 
 Sienna, was known by the name of Senesino : 
 he never came to this country. 
 
 At length I had the good fortune to hear 
 a thorough good opera at Naples, where the 
 principal singers at the theatre of San Carlo 
 were Pozzi, first woman, Rubinelli, first man, 
 and David, tenor, all excellent in their re- 
 spective lines ; but I shall not enter on their 
 merits here, as I shall have a future oppor- 
 tunity of doing so. The opera was Antigono, 
 composed by Paesiello. At the Theatre dei 
 Fiorentini, where comic operas were acted, 
 the first woman was Coltellini, most justly 
 the favourite of the Neapolitans ; for she was 
 very pretty, a most excellent actress, and 
 though no great singer, so adapted herself to 
 their taste by singing popular airs in their 
 barbarous jargon, that faceva furore. Her 
 dancing the national dance, the tarantella, was 
 beautiful. The buffo who acted with her,
 
 40 ITALY. 
 
 by name Casacciello, a man of enormous cor- 
 pulence, could speak, I believe, nothing but 
 Neapolitan patois, at least he sung nothing 
 else. Coltellini never quitted Naples but 
 once, on an engagement to Vienna ; but 
 neither there, nor at several places where she 
 performed on her journey, did she meet with 
 equal success. She was nevertheless an en- 
 chanting performer. There were two other 
 theatres for comic operas ; at the one, were 
 Benini, as first woman, and her husband Men- 
 gozzi, whom I shall have occasion to notice 
 at our own opera ; at the other was nobody 
 worth remembering, except Rovedino. 
 
 During Lent, when none but sacred dramas 
 were allowed, the oratorio of Jephthah was 
 acted at the Theatre del Fondo, and the 
 principal parts well sustained by Benini, 
 Mengozzi, and Rovedino, the music very 
 good, but I forget the composer. Benini 
 sung sweetly a most beautiful pathetic air as 
 she was going to be sacrificed. I also heard 
 at Naples a singer retired from the stage,
 
 ITALY. 
 
 41 
 
 called Aprile, who had been famous in his 
 youth. 
 
 Returning through Rome, I attended all 
 the ceremonies of the holy week, which I 
 need not describe, but I cannot pass over 
 wholly in silence, the music in the Pope's 
 chapel, though so well known. The Mise- 
 rere, in particular, sung on three evenings 
 at the office of Le Tenebre, has long been 
 esteemed one of the finest of performances ; 
 but no one can imagine the effect produced 
 by the perfect union of the finest voices, pro- 
 ceeding from concealed performers, in such 
 a place, nearly in darkness, with all the im- 
 posing circumstances with which it is accom- 
 panied, but those who have heard it. Nothing 
 can be more affecting or sublime. At that 
 time, the first singer was Cristoferi, no longer 
 a young man, but still possessing a beautiful 
 voice. All the choir are tonsures, and wear 
 the ecclesiastical habit ; they are not per- 
 mitted to sing at any theatre, but I heard 
 Cristoferi often in private, and at the ora-
 
 42 ITALY. 
 
 torios before alluded to. The grand mass in 
 St. Peter's, on Easter Sunday, is performed by 
 the same singers, and like the music in the 
 Sistine chapel, without any instrument what- 
 ever, not even the organ, none being ever 
 used where the Pope is present. 
 
 The spring being the season for fairs in Italy, 
 at which there is always an opera, I heard 
 several in my journey northward, of which 
 two deserve to be particularly mentioned. 
 
 The first of these was at Mantua, to which 
 place I went for the express purpose of hear- 
 ing the celebrated Marchesi, who will receive 
 due notice and praise hereafter. The first 
 woman was Pozzi, of whom, at parting I must 
 observe, that although she had deservedly 
 risen to the head of her profession, was a good 
 singer, and had a voice of uncommon clear- 
 ness and brilliancy, yet its tones were so bird- 
 like, and there was such a want of feeling in 
 her manner both of singing and acting, that 
 she was on the whole a cold and uninteresting 
 performer. The tenor was Scovelli, the second
 
 ITALY. 43 
 
 man Manzoletto, who had been at Naples in 
 the carnival. The opera was Arminio, by 
 Tarchi, composed expressly for Marchesi, with 
 whose performance I was very much pleased. 
 
 At Reggio I heard for the first time that 
 first of singers Band, of whom I shall speak 
 at length when I have to give the account of 
 her long residence in England. She was per- 
 forming in Sarti's Opera of Medonte, with 
 Porri (who so haunted me) and Ansani ; but 
 unfortunately the latter was ill, and could not 
 sing the night I was there, so that the opera 
 was acted without the part of Medonte. 
 Band's singing however was delightful. 
 
 This was my bonne bouche, and the last mu- 
 sic I heard in Italy, the great theatres of Milan 
 and Turin not being open when I passed 
 through those towns. Upon the whole I was 
 surprised at hearing so little very good in that 
 country, and still more so at the extreme bad- 
 ness of much which I have passed over 
 unnoticed. At the small towns, such as 
 Nice, Trieste, and others, there were operas,
 
 44 ITALY. 
 
 if indeed they deserved that name, for the 
 singers were little better than those of the 
 streets, and would not have been tolerated for 
 a moment in England. But the passion for 
 music cannot be so great in that land of song 
 as we are apt to suppose : for on inquiring in 
 any town if the opera was good, I was uni- 
 formly answered, Oh! si; bellissimi balli.' 
 and indeed in general the dances are more 
 thought of, and attended to in greater silence, 
 than the opera itself, in which, if there is one, 
 or at most two good performers, and as many 
 good songs, it is quite sufficient, and the rest 
 may be as bad as possible without giving any 
 offence.* Yet the ballets are both long and 
 wearisome in the extreme, absolute tragedies 
 in pantomime (I saw Romeo and Juliet danced); 
 while nothing is so delightful as a really good 
 opera. 
 
 * I believe this is in some degree altered since the 
 great revolution in operatic performances, for reasons 
 which will be assigned when speaking of modern 
 operas.
 
 RETURN TO ENGLAND. 45 
 
 The accounts I received during this time of 
 the opera in England, were extremely un- 
 favourable ; yet the Italians assured me that it 
 possessed some of their best singers in Cres- 
 centini, Babbini, and la Ferrarese, who then 
 composed the company. If so, they were very 
 ill judged of and ill treated here, for Crescen- 
 tini was thought so moderate a performer, and 
 so little liked, that before the season was half 
 over, he was superseded by Tenducci (who 
 very many years before had sung, chiefly as 
 second man) in Gluck's Orfeo. But the per- 
 formance of an old man, who had never been 
 very capital, and could now have scarcely any 
 voice left, and that too in a part in which many 
 still remembered Guadagni, was not likely to 
 prove very attractive.* Rauzzini then re- 
 appeared in an opera of his own composing, 
 called La Regina di Golconda, a drama in the 
 French style, intermixed with dances, there 
 
 * I had heard Tenducci in concerts before I left 
 England, but his voice was then cracked, and I did not 
 like him. He sung this year in Westminster Abbey.
 
 46 COMMEMORATION OF HAXDEL 
 
 being an unusually numerous and fine set of 
 dancers that year. But nothing succeeded ; 
 in spite of all efforts, the manager became a 
 bankrupt, and the theatre was prematurely 
 closed before the usual end of the season. 
 
 It is but justice to Crescentini to add, that 
 when he was here he was very young, and 
 had not attained that excellence which has 
 since gained him the reputation of a first-rate 
 singer. He never returned to this country. 
 
 I did not reach England till near the end 
 of the summer of 1785, long after the opera- 
 house had been shut up, and not in time to be 
 present at the great musical festival which 
 had taken place (for the second time) in 
 Westminster Abbey. Though I did not there- 
 fore hear any of those surprising performances 
 till the following spring, yet it may be con- 
 venient to give some account of them in this 
 place, that I may not interrupt that of the 
 opera when resumed. 
 
 The first performance of these concerts was 
 in commemoration of Handel, in the prece-
 
 IN WESTMINSTER ABBEY. 47 
 
 ding year (1784); on which occasion they 
 gave such universal satisfaction, particularly 
 to their Majesties, under whose patronage 
 they took place, that they were repeated for 
 several years following, and always with equal 
 success. The orchestra, in the first year, when 
 it was the smallest, consisted of between five 
 and six hundred performers, vocal and instru- 
 mental. The number was annually increased, 
 till it amounted to near a thousand. Yet 
 such was the admirable manner in which this 
 prodigious band was conducted by Mr. Bates 
 at the organ, and Cramer as leader, that not 
 even the smallest ever executed music with 
 greater precision. It was as one instrument. 
 To facilitate the execution in both depart- 
 ments, the long movement (now in common 
 use) was for the first time applied to the 
 organ, which placing Mr. Bates much below 
 and at a great distance from the instrument, 
 while Cramer stood between it and the con- 
 ductor, enabled both to see, and act in perfect 
 concert with each other. It also put Mr. Bates
 
 48 COMMEMORATION OF HANDEL 
 
 into such a position that he could see not onh 
 every instrumental performer ranged in front 
 but all the chorus singers occupying the aislei 
 on each side, 10 give force and fullness tc 
 the orchestra, larger instruments were alsc 
 invented, and made expressly for this occa- 
 sion ; double kettle drums, bass trumpets 
 and trcmbones, and even double double-basses 
 all of which added surprisingly to the har- 
 mony, and were indeed necessary to make 
 the bass sufficiently powerful to counter- 
 balance so vast a band of violins. The cho- 
 russes too were performed with equal ex- 
 cellence, under the direction of the most able 
 musical professors. The first singer on all 
 these occasions, was Madame Mara, who had 
 come to England to sing at the Pantheon 
 concerts. All the best Italian as well as 
 English singers were engaged. The music 
 was confined to that of Handel, the burst of 
 one of whose chorusses caused a general 
 thrill, and was sublime beyond imagination. 
 Yet from the vastness of that venerable pile,
 
 IN WESTMINSTER ABBEY. 49 
 
 never was the fullest piece of music in the 
 least degree too loud even to those who were 
 near the orchestra, while its construction was 
 so favourable to sound, that Mara's single 
 voice, or Cramer's single fiddle, were heard 
 most distinctly in every part. It was re- 
 markable that even the tuning of this im- 
 mense band, generally so discordant, accom- 
 panied as it was by the full chords of a noble 
 organ, produced a fine and harmonious effect. 
 On the whole, it was acknowledged by all, 
 even by foreigners, that no performance was 
 ever heard so perfect, or so surprising. The 
 sight too was striking and beautiful. The 
 vast space and solemnity of the building, the 
 king and queen, with all the royal family and 
 their court, occupying one end, the enormous 
 orchestra, with its magnificent organ, at the 
 other, filling up the whole space, even to 
 the top of the arches, and the thousands of 
 full-dressed auditors ranged on the floor, and 
 in galleries constructed over the side aisles, 
 all listening in breathless silence (a silence
 
 50 COMMEMORATION OF HANDEL. 
 
 almost devotional, and never broken by that 
 applause which would have misbecome the 
 sanctity of the place), formed altogether a 
 spectacle at once interesting and imposing.* 
 
 * Within the last few years, two performances on the 
 same plan have taken place in York Minster, which 
 rivalled, and it is said, almost equalled their model ; 
 but there was no Mara to head the vocal department. 
 On the first occasion, Catalani sung, whose voice must 
 have filled the vast space, and been heard there to 
 great advantage. On the second, there was no female 
 singer of great note, or of sufficient power.
 
 MARA. 
 
 51 
 
 SECTION IV. 
 
 17861792. 
 
 Madame Mara Babbini Rubinelli -4- Benini and 
 Mengozzi -+- Storace Morelli Marchesi Burning 
 of the King's Theatre Opera at the Little Theatre in 
 the Haymarket Concert at the Pantheon Pacchi- 
 erotti returned Opera at the Pantheon Perform- 
 ances at the King's Theatre in the Haymarket 
 David Burning of the Pantheon Opera at the Little 
 Theatre. 
 
 I NOW proceed to the revival of the opera 
 after its unfortunate interruption. 
 
 With no small difficulty arrangements were 
 at length made for re-opening the theatre in 
 the beginning of the year 1786 ; but no new 
 performers having arrived from Italy, the 
 company was not completed till the middle 
 of the season, which began with Madame 
 Mara as first woman (and for a time the sole
 
 52 MARA. 
 
 support of the opera) her first appearance on 
 the stage. There being no first man, the tenor 
 Babbini filled that part, and his own was 
 consigned to Tasca, the "bass who had played 
 in the comic opera of the preceding year. 
 There was a very good second soprano, named 
 Bartolini, who, as well as Tasca, had sung at 
 the commemoration. The first opera was 
 Didone, a pasticcio, for which Mara had made 
 a very judicious selection of songs, introducing 
 four of very different characters, by Sacchini, 
 Piccini, and other composers, all of which were 
 so much and so equally admired, that two were 
 encored every night, each of them receiving 
 that mark of approbation in its turn. Mara's 
 talents as a singer (for she was no actress, 
 and had a bad person for the stage) were of 
 the very first order. Her voice clear, sweet, 
 distinct, was sufficiently powerful, though 
 rather thin, and its agility and flexibility ren- 
 dered her a most excellent bravura singer, 
 in which style she was unrivalled; but she 
 succeeded equally well in some of Handel's
 
 MA It A. 53 
 
 most solemn and pathetic songs, though there 
 appeared to be a want of that feeling in her- 
 self, which, nevertheless, she could communi- 
 cate to her hearers. Her performance in this 
 opera was perfect, and gave entire satisfaction. 
 She next revived an opera of Sacchini, called 
 Perseo, which had been produced in the time 
 of Millico and Miss Davies, whose style of 
 singing was much the same. In this too the 
 first man's part was performed by Babbini, of 
 whom, notwithstanding the favourable report 
 I had heard of him, I cannot say much in 
 praise. He might be a good singer, as far as 
 knowledge of music could make him one, but 
 he was unequal to producing much effect, from 
 the weakness of his voice, which it seemed a 
 painful effort to him to exert. 
 
 The late first woman Ferrarese del Bene, 
 who had been also much extolled to me, was 
 but a very moderate performer. She was this 
 year degraded to prima buffa, but even in that 
 subordinate line was so ineffective, that Ses 
 tini was recalled to strengthen the company.
 
 54 RUBINELLI. 
 
 But all in vain : the comic opera was little 
 liked, and no more thought of after the arrival 
 of Rubinelli in the spring. 
 
 That excellent singer (who has been named 
 before) possessed a contralto voice of fine 
 quality, but limited compass. It was full, 
 round, firm, and steady in slow movements, 
 but had little agility, nor did he attempt to 
 do more than he could execute perfectly. 
 His style was the true cantabile, in which 
 few could excel him : his taste was admirable, 
 and his science great ; his figure tall and 
 commanding, his manner and action solemn 
 and dignified. In short, he must be reckoned, 
 if not the first, yet of the first class of fine 
 singers. The opera he chose for his debut 
 was Virginia by Tarchi, which was received 
 with the highest applause. 
 
 In the following year Mara, Rubinelli, and 
 Babbini remained for the serious opera, and 
 several new ones were produced ; Alceste by 
 Gresnich (Metastasio's Demetrio), La Ves- 
 tale by Rauzzini, Armida by Mortellari, and
 
 KUBINELLI. 55 
 
 in order to induce the king to visit the 
 theatre called his own, but which he seldom 
 frequented, the Giulio Cesare of Handel was 
 revived, or rather a medley from his Italian 
 works, for little of the original music was 
 retained, and many of his most favourite songs 
 from other operas were introduced, Verdi 
 prati, Dove sei, Rendi sereno il ciglio, and 
 others. This ancient music was particularly 
 suited to Rubinelli, and was familiar to Mara, 
 both of whom sung it incomparably well. 
 Nothing could be finer than the delivery of 
 the famous recitative Alma del gran Pompeo 
 by the former. But in the inferior parts it 
 was miserably executed, and the effect was 
 absolutely ludicrous. It, however, answered 
 the end proposed ; The king came two or 
 three times to hear it, and it was pretty gene- 
 rally liked by the public : at least it filled 
 the house by attracting the exclusive lovers 
 of the old style, who held cheap all other 
 operatical performances. 
 
 While such was the flourishing state of the
 
 56 BEKINI. 
 
 serious opera, the comic underwent a total 
 change much for the better, and began to 
 regain popularity, especially towards the close 
 of the season. At the beginning of it, Benini 
 and Mengozzi, whom I have mentioned be- 
 fore, came to fill the first parts. The former 
 had a voice of exquisite sweetness, and a 
 finished taste and neatness in her manner of 
 singing ; but she had so little power, that she 
 could not be heard to advantage in so large a 
 theatre : her performance in a small one was 
 perfect. Though from this want of strength 
 she was generally confined to comic operas, 
 yet her appearance and style seemed much 
 more adapted to the serious, for which she 
 had sufficient feeling and expression, as I had 
 witnessed in her excellent performance of 
 Jephthah's daughter ; and during an indispo- 
 sition of Mara she filled with great sweetness, 
 and much more appropriate figure and manner, 
 her part of Virginia. Indeed she had not that 
 gaiety of countenance nor vivacity of manner 
 requisite for a prima buffa. Her husband,
 
 MORELLI. 57 
 
 Mengozzi, was a good tenor, but also wanted 
 power. This climate really disagreed with 
 him, and injured his voice, so that he was 
 prevented by illness from appearing in the 
 first opera with Benini, nor did he ever quite 
 recover all the powers he possessed. This 
 was a very great disadvantage to her, his 
 substitute being execrable. 
 
 Both these singers, of very considerable 
 merit, if they had had a better opportunity of 
 displaying it, were superseded in the spring 
 of this year (1787) by the arrival of Storace 
 and MorelJi, who came out in Gli Schiavi per 
 amore, a very pretty opera of Paesiello's, in 
 which Sestini performed the second woman's 
 part, and Morigi, who had long been the first 
 buffo caricato, became second to Morelli. 
 This opera was universally admired, and ran 
 without any change to the end of the season. 
 Morelli had a bass voice of great power, and 
 good quality, and he was a very good actor. 
 Having been running footman to Lord Cowper 
 at Florence, he could not be a great musician. 
 D 5
 
 58 STORAGE. 
 
 He continued for many years in great favour, 
 and sung occasionally at the opera till he had 
 scarcely a tone left : but he was always 
 received kindly, as an old and deserving 
 servant of the public. 
 
 Storace was by birth, and parentage on her 
 mother's side, English, but went early to 
 Italy, and was never heard in this country 
 till her reputation as the first buffa of her 
 time was fully established. She had a harsh- 
 ness in her countenance, a clumsiness of 
 figure, a coarseness in her voice, and a vulga- 
 rity of manner, that totally unfitted her for 
 the serious opera, which she never attempted. 
 But her knowledge of music was equal to 
 any thing, and she could sing well in every 
 style, as was proved by her performances in 
 Westminster Abbey, where she sung with 
 the best effect : in my opinion she rarely ap- 
 peared to greater advantage, for in that space 
 the harsh part of her voice was lost, while its 
 power and clearness filled the whole of it. In 
 her own particular line on the stage she was
 
 STOIIACK. 59 
 
 unrivalled, being an excellent actress, as well 
 as a masterly singer. She settled entirely in 
 England, and after quitting the opera (to 
 which she was frequently recalled in times 
 of distress, when the performers engaged 
 proved bad, as was too often the case), 
 she engaged at Drury Lane, where the Eng- 
 lish opera was raised to an excellence not 
 known before, by her singing, with that of 
 Mrs. Crouch, Mrs. Bland, Kelly, and Ban- 
 nister, and under the direction of her brother 
 Stephen Storace, who composed, or rather 
 compiled, several very pretty operas, of which 
 the Haunted Tower, and the Siege of Belgrade, 
 still remain favourites, and are frequently per- 
 formed. Her voice being of a nature soon to 
 crack and grow husky, on finding her powers 
 decline she left the stage some time before 
 her death, which took place a few years ago. 
 It was very little known that she had been 
 married at Vienna, to one Fisher, a doctor of 
 music, and player on the fiddle. The cere - 
 mony was performed by a protestant German
 
 60 MARCHESI. 
 
 clergyman in the chapel of the Dutch ambas- 
 sador. Prince Adam Auersperg and myself 
 led the bride to the altar, and our minister, 
 Sir Robert Keith (whose proxy I had been) 
 gave the wedding dinner ; but the union was 
 productive of so little happiness, that a sepa- 
 ration soon took place, she never bore his 
 name, and Dr. Fisher was heard of no more. 
 
 The engagements of Rubinelli and Mara 
 having terminated, and the former left Eng- 
 land, the season of 1788 began with romic 
 operas only, in which Storace still took the 
 lead. Benucci, who has been already men- 
 tioned, was the first buffo, but, notwithstand- 
 ing his fine bass voice and excellent acting, 
 was not so much admired as his talents de- 
 served. He remained here but one season. 
 It was not till after the carnival that the se- 
 rious singers that were engaged could leave 
 Italy. At length, in the spring, arrived the 
 celebrated Marches!, whose fame had long 
 reached this country, and who had been 
 extolled to such a degree that impatience and
 
 MARCHESI. 61 
 
 expectation were raised to the highest pitch ; 
 and on the first night of his appearance the 
 theatre was not only crowded to the utmost 
 in every part, but on the rising of the cur- 
 tain, the stage was so full of spectators that 
 it was some time before order and silence 
 could be obtained, and with some difficulty 
 that Marchesi, who was to open the opera, 
 could make his way before the audience. 
 Marchesi was at this time a very well-looking 
 young man, of good figure, and graceful 
 deportment. His acting was spirited and ex- 
 pressive : his vocal powers were very great, 
 his voice of extensive compass, but a little 
 inclined to be thick. His execution was very 
 considerable, and he was rather too fond of 
 displaying it; nor was his cantabile singing 
 equal to his bravura. In recitative, and 
 scenes of energy and passion, he was incom- 
 parable, and had he been less lavish of orna- 
 ments, which were not always appropriate, 
 and possessed a more pure and simple taste, 
 his performance would have been faultless :
 
 UZ MARCHESI. 
 
 it was always striking, animated, and effective. 
 He chose for his debut Sarti's beautiful opera 
 of Giulio Sabino, in which all the songs of the 
 principal character, and they are many and 
 various, are of the very finest description. 
 But I was a little disappointed at Marchesi's 
 execution of them, for they were all familiar 
 to me, as I had repeatedly heard Pacchierotti 
 sing them in private, and I missed his tender 
 expression, particularly in the last pathetic 
 scene, and lamented that their simplicity should 
 be injured, as it was, by an over-flowery style. 
 lint his flowery style was absolute simplicity 
 to what we have] heard in latter days. The 
 comparison made me like Marchesi less than 
 I had done at Mantua, or than I did in other 
 subsequent operas here. He was received 
 with rapturous applause. 
 
 The first woman, Giuliani, was a very in- 
 ferior performer, and had an uncertain, thin 
 voice, not always perfectly in tune ; yet she 
 was not without merit, had a good figure for 
 the stage, and acted well. The new tenor,
 
 OPERA HOUSE BURNT. 63 
 
 Forlivesi, was very indifferent, not near so 
 good as his predecessor. 
 
 All these singers remained for the ensuing 
 season, but the good comic performers were 
 dismissed, and exchanged for a new set, all 
 execrably bad. The dancers too this year 
 were so insufferable, that dissatisfaction was 
 loudly expressed every nighk and the manager 
 was at last compelled to send to Paris for more 
 and better performers, amongst whom came the 
 famous Mademoiselle Guimard, then near sixty 
 years old, but still full of grace and gentility, 
 and she had never possessed more. 
 
 The season ended disastrously ; for a short 
 time before its close the performances were 
 stopped by the destruction of the opera-house, 
 which was entirely burnt down, not without 
 strong suspicion of its having been maliciously 
 set on fire. The suspected person soon after 
 committed suicide. The few remaining repre- 
 sentations were given at Covent Garden after 
 the season for plays was concluded, early in 
 June. Thus was a second more fatal, and
 
 64 OPERA AT THE LITTLE THEATRE. 
 
 longer, interruption given to the unfortunate 
 King's Theatre, and great dismay arose lest 
 there could be no opera at all the next winter. 
 Arrangements however were made for carrying 
 it on, upon a less splendid scale, at the Little 
 Theatre in the Haymarket, which being tem- 
 porarily altered and fitted up with greater 
 convenience for the purpose, was opened with 
 serious and comic operas. The latter were 
 again detestable (Sestini, though nominally 
 second woman, being the best, and only tole- 
 rable performer) till Storace was called in for 
 their support. But in the former, Marchesi 
 was still first man, and Mara resumed her 
 station in the room of Giuliani, so that the 
 season was as successful as the smallness of 
 the house would permit. The best new 
 opera performed here was Demofoonte (called 
 L'Usurpator innocente), but it was inferior to 
 the former one of that name. The other 
 operas in which Marchesi had most distin- 
 guished himself, were 1'Olimpiade, Alessandro 
 nell' Indie (under the name of La Generosita
 
 PACCHIEROTTI AND MARCHESI. 65 
 
 d'Alessandro),* by Tarchi, and II Disertore, a 
 drama taken from the French play of Mercier. 
 The lovers of music, who from the small 
 size of the theatre could not frequent the 
 opera, had this year another resource, in the 
 Pantheon, where there were excellent con- 
 certs, for which Pacchierotti had returned to 
 England, so that London possessed at once 
 the two finest singers of Italy. Once only 
 they sung in the same room, at a private con- 
 cert given by Lord Buckingham, when both 
 exerted themselves to the utmost in friendly 
 rivalship, and their combined efforts afforded 
 the highest gratification. It was difficult to 
 decide the point of precedence between two 
 such great and equal performers ; but both 
 were civil and obliging men, despising the 
 petty distinctions of which inferior performers 
 are so tenacious, and Marchesi of his own 
 
 * These changes were made in compliment to Mar- 
 chesi, who in neither opera acted the nominal hero : a 
 usual etiquette.
 
 G6 OPERA AT THE PANTHEON. 
 
 accord yielded to his senior, Pacchierotti.* 
 At the closing of the opera, the former left 
 England. 
 
 , The King's Theatre being rebuilt before 
 the usual time for opening it, it was expected 
 that the performances would recommence 
 with splendor. But fresh and unforeseen dif- 
 ficulties arose, another theatre having been 
 prepared for operas, under other managers, 
 who had not only secured the Lord Cham- 
 berlain's licence, but even got the sanction 
 of the King to call it his theatre. This was 
 the Pantheon, in its original state the largest 
 and most beautiful room in London, and a 
 very model of fine architecture. It was the 
 chef-d'oeuvre of Wyatt, who himself con- 
 trived and executed its transformation, taking 
 care not to injure any part of the building, 
 and so concealing the columns and closing its 
 dome, that it might be easily restored after 
 
 * That is, sung before him, and left the last song to 
 Pacchierotti.
 
 OPERA AT THE PANTHEON. 67 
 
 its temporary purpose was answered, it being 
 then in contemplation to erect an entirely 
 new and magnificent opera-house elsewhere, 
 a project which could never be realised. Mr. 
 Wyatt by this conversion produced one of 
 the prettiest, and by far the most genteel 
 and comfortable theatres I ever saw, of a 
 moderate size and excellent shape, and admi- 
 rably adapted both for seeing and hearing. 
 Here the regular opera was successfully car- 
 ried on, with two very good companies and 
 ballets. Pacchierotti, Mara, and Lazzarini, 
 a very pleasing singer with a sweet tenor 
 voice, being at the head of the serious ; and 
 Casentini, a pretty woman and genteel actress, 
 with Lazzarini, for tenor, Morelli and Cipriani 
 principal buffos, composing the comic. This 
 was the first time that Pacchierotti had met with 
 a good prima donna since Madame Lebrun : 
 his duettos with Mara were the most perfect 
 pieces of execution I ever heard. The operas 
 in which they performed together were Sac- 
 chini's Rinaldo and Bertoni's Quinto Fabio,
 
 DO HAYMARKET THEATRE. 
 
 revived, and a charming new one by Sarti, 
 called Idalide ; or, La Vergine del Sole. The 
 best comic were La Molinara, and La Locanda, 
 both by Paesiello, and La bella Pescatrice by 
 Guglielmi. On the whole I never enjoyed the 
 opera so well as at this theatre. 
 
 In the meanwhile the proprietors of that 
 in the Haymarket had engaged a number of 
 performers without the precaution of first as- 
 certaining whether they could have a licence 
 for employing them., At the head of the 
 vocal department, or rather, I should say, the 
 only vocal performer, was David, whom I 
 had heard at Naples. There were no other 
 singers of even tolerable merit, but a nume- 
 rous and good set of dancers. After these 
 incautious preparations, it was with difficulty 
 they at length succeeded in getting leave to 
 open the theatre with music and dancing ; 
 but the permission not extending to dramatic 
 performances, no opera could be acted. That 
 of Pirro had been prepared, but was heard 
 only at one dressed rehearsal gratis. The
 
 HAYMARKET THKATRE. 69 
 
 subsequent performances consisted only of a 
 vocal concert with ballets; and as there was 
 no better female singer than poor old Sestini, 
 and few of any sort that could be brought 
 forward at a concert, two or three detached 
 single songs by David were not attractive 
 enough to carry many to the theatre, had 
 not party run high on the occasion, its pa- 
 tronizers being rancorous against the Lord 
 Chamberlain and the Pantheonites. David 
 was unfortunate in having no better oppor- 
 tunity for the display of his great talents 
 during his short stay in this country, where 
 he was less known than his merits deserved, 
 or than any other singer of equal eminence. 
 He was undoubtedly the first tenor of his 
 time, possessing a powerful and well-toned 
 voice, great execution as well as knowledge 
 of music, and an excellent style of singing. 
 One of his last performances was in West- 
 minster Abbey, at the last of those festivals, 
 when the orchestra had to boast an assemblage 
 of talent rarely met with, in Pacchierotti, 
 Mara, David, and Storace.
 
 70 HAYMAEKET THEATRE. 
 
 A German singer, whose name I forget, 
 had been engaged as first woman for the 
 Haymarket, and sung in the rehearsal of 
 Pirro : but finding no operas could be acted, 
 she would not sing at the concerts, and went 
 away without being heard elsewhere. She 
 was said to be an excellent musician, and 
 probably was a good singer of the old school, 
 for she was the scholar of a very celebrated 
 performer, Signora Mingotti, who had been a 
 great favourite in this country above thirty 
 years before, and was not only first singer, 
 but manager of the opera for a considerable 
 period. She came over to England again 
 with her pupil, and I once or twice heard the 
 old lady sing with a tremulous, but still 
 strong voice, some of her most admired old 
 songs. Her usual residence was Munich, 
 where I had also heard her, she having invited 
 me to her house for that purpose, out of 
 regard to my family, who had been among the 
 number of her friends and patrons here. 
 
 Thus ended the season of the year 1791.
 
 PANTHEON BURNT. 71 
 
 In the next, the Haymarket Theatre never 
 opened at all, and that of the Pantheon with 
 comic operas only, by the same singers as 
 the preceding year. But scarcely had the 
 performances begun before that theatre also 
 was burnt to the ground, and by this disaster 
 not merely was a pretty opera-house lost, but 
 one of the greatest architectural ornaments 
 of the metropolis entirely destroyed. The 
 proprietors of the rival theatre were very un- 
 justly accused of being accessary to this mis- 
 fortune, which, in this instance, was really 
 occasioned only by accident. The opera again 
 took refuge in the Little Theatre in the Hay- 
 market, and went on with tolerable success to 
 the end of the season. 
 
 No male singer of eminence now remaining 
 in this country, and none having from this 
 time appeared on our stage of equal excellence, 
 I would here make a few general remarks on 
 the three finest that have ever lived in my 
 memory, and the last of their line, of any note 
 or distinguished merit, that Italy ever pro- 
 duced. In comparing them together, I should
 
 72 GENERAL REMARKS. 
 
 say that Rubinelli was the most simple, Mar- 
 ches! the most brilliant, Pacchierotti the most 
 touching singer. The style of the first was 
 chaste and dignified ; that of the second florid 
 and spirited ; while the third, combining all 
 styles, and joining to exuberance of fancy the 
 purest taste and most correct judgment, united 
 every excellence, could by his variety please 
 all descriptions of hearers, and give unquali- 
 fied delight to every true lover of really good 
 music.
 
 HAYMARKET THEATRE. 73 
 
 SECTION V. 
 
 17931802. 
 
 King's Theatre re-opened Mara, her departure and 
 subsequent return Banti Tour in Germany. 
 
 DURING the theatrical recess, negotiations 
 were opened, and at last brought to a suc- 
 cessful termination, for putting an end to the 
 schism which had, with no little acrimony, 
 divided the musical world, and for adjusting 
 the claims of the rival managers. This was 
 effected by an union of parties, and an arrange- 
 ment was made for re-opening the Haymarket 
 theatre in the winter. But there was not time 
 to bring over any new company of performers, 
 and the best then in England were collected, 
 with Mara at their head. 
 
 The only new singer was the first man, 
 Bruni, whom I had heard at Florence. He 
 E
 
 74 BRUNI. 
 
 certainly was improved since that time, but 
 still he was very weak and poor in com- 
 parison with his predecessors. He would 
 indeed at times recall some of the tones and 
 manner of Rubinelli, but was greatly inferior 
 to him in every respect. 
 
 The tenor was Kelly, new to the opera, 
 but not to the town, as he had sung for several 
 years at Drury Lane. Though he was a 
 good musician, and not a bad singer, having 
 been long in Italy, yet he had retained, 
 or regained, so much of the English vulgarity 
 of manner, that he was never greatly liked 
 at this theatre, where however he sung 
 occasionally, for a good many seasons, and 
 became very useful as stage manager. 
 
 The comic opera had no novelty. Casen- 
 tini (now married to Borghi, second violin 
 player of the opera) sung for a short time, 
 but she was not in good health, and her voice 
 was too weak for this theatre. Storace 
 therefore, as usual, was re-engaged, and, 
 aided by Kelly, Morelli, and Rovedino, gave
 
 MARA. 75 
 
 some very good opera buffas, particularly 
 that of I Zingari in Fiera, by Paesiello, which 
 was extremely well acted, and gave great 
 satisfaction. Thus passed the season without 
 any marked success or failure. 
 
 Mara was now however beginning to de- 
 cline in voice and favour, as she advanced in 
 age. When not engaged at the opera, she 
 had continued here, singing at the Ancient 
 Music and other concerts. For a short time 
 she sang also at Covent Garden, where she 
 was rather out of her place. She could not 
 sing ill, but was not exactly suited for the 
 pretty Polly of the Beggars' Opera, one of 
 the characters she there assumed. At another 
 time she sang at Drury Lane, or rather with 
 the Drury Lane company, while they per- 
 formed at the Opera-house during the re- 
 building of their own theatre, when the 
 original one of Garrick was pulled down, and 
 the very large house erected which was 
 subsequently burnt. On this occasion she 
 performed in an English serious opera of Dido,
 
 76 MARA. 
 
 in which she retained only one song of her 
 Didone, the brilliant bravura, Son Regina, 
 of Sacchini. Mrs. Crouch performed the 
 part of first man, and Kelly that of tenor. It 
 did not greatly succeed, though the music 
 was good, and well sung.* 
 
 At length she suddenly quitted the country, 
 in no very creditable manner : for in the 
 maturity of charms, which had never been 
 great, she eloped from her husband, an idle 
 drunken man, and bad player on the violon- 
 cello, and went off with the young flute-player 
 Florio, With him she fled to the uttermost 
 parts of Europe, and lived for several years 
 in Russia, till, when she was almost for- 
 gotten, she re-appeared as suddenly and in as 
 singular a manner as she had vanished. A 
 very few years ago, an advertisement from 
 
 * This is not surprising, the serious opera being ill 
 suited to our stage, and our language to recitative 
 None ever succeeded but Dr. Arne's Artaxerxes, which 
 at first was supported by some Italian singers, Ten- 
 ducci being the original Arbaces.
 
 MARA. 77 
 
 Messrs. Knyvett announced for their concerts 
 a most celebrated singer whom they were 
 not yet at liberty to name. This mysterious 
 secret was soon after explained by another 
 announcement, that Madame Mara's benefit 
 concert would take place at the King's The- 
 atre on an evening specified, no one being at 
 all aware of her return to England, or even 
 of her existence. She must then have been 
 at least seventy ; but it was said that her 
 voice had miraculously returned, and was 
 again as fine as ever. But when she dis- 
 played these wonderfully revived powers 
 they proved, as might be expected, lamen- 
 tably deficient, and the tones she produced 
 were compared to those of a penny trumpet. 
 Curiosity was so little excited that the con- 
 cert was ill attended : but this single exhi- 
 bition was sufficient to induce Messrs. Knyvett 
 to relinquish her services, and Madame Mara 
 was heard no more. I was not so lucky' (or 
 unlucky) as to hear these her last notes, as 
 it was early in the winter, and I was not in
 
 78 BANTI. 
 
 town. She returned to Russia, and was a 
 great sufferer by the burning of Moscow. 
 After that she lived at Mitlau, or some other 
 town near the Baltic, where she died at a 
 great age, not many years ago. 
 
 We are now come to an interesting period 
 in operatical history, the arrival of Banti, 
 whom I must ever consider as far the most 
 delightful singer I ever heard. She had begun 
 the world as a cantante di piazza, and as such, 
 having attracted notice by her fine voice, 
 she had been taken from her humble calling, 
 taught, and brought out as a singer in con- 
 certs, first at Paris, and then in England, as 
 before mentioned, at the Pantheon, under 
 the name of Giorgi. But though she had the 
 
 best ..masters, she was an idle scholar, and 
 
 , 
 
 never would apply to the drudgery of her 
 profession", but in her, genius supplied the 
 place of science, and the most correct ear, 
 with the most exquisite taste, enabled her to 
 sing with more effect, more expression, and 
 more apparent knowledge of her art, than
 
 BANTI. 79 
 
 many much better professors. She never was 
 a good musician, nor could sing at sight 
 with ease ; but having once learnt a song, 
 and made herself mistress of its character, 
 she threw into all she sung more pathos and 
 true feeling than any of her competitors. Her 
 natural powers were of the finest description : 
 her voice, sweet and beautiful throughout, 
 had not a fault in any part of its unusually 
 extensive compass. Its lower notes, which 
 reached below ordinary sopranos, were rich 
 and mellow ; the middle, full and powerful ; 
 and the very high, totally devoid of shrillness: 
 the whole was even and regular, one of 
 those rich voci di petto, which can alone 
 completely please and satisfy the ear. In 
 her youth it extended to the highest pitch, 
 and was capable of such agility, that she 
 practised and excelled most in the bravura 
 style, in which she had no superior ; but 
 losing a few of her upper notes, and acquiring 
 a taste for the cantabile, she gave herself up
 
 80 BANTI. 
 
 almost entirely to the latter, in which she had 
 no equal. 
 
 Her first appearance in this country was 
 in the opera of Semiramide, or La Vendetta 
 di Nino, by Bianchi, and all her part in it was 
 of the most beautiful description. In addition 
 to the songs belonging to the opera, she in- 
 troduced a remarkably fine air by Guglielmi, 
 from the oratorio of Debora, with an accom- 
 paniment for a violin obligate, originally 
 played by Cramer, afterwards by Viotti, 
 Salomon, and Weichsell. This song, though 
 long and one of great exertion, was so great 
 a favourite that it never failed of being encored, 
 not only in its novelty, but in every subsequent 
 revival. Her acting and recitative were 
 excellent, and in the last scene, where Semi- 
 ramide dies, was incomparably fine. No 
 opera ever had greater success or a longer run 
 than this ; indeed it was one of those of which 
 it is impossible to tire. She was but poorly 
 supported in it ; the first man, Roselli, who
 
 BANTI. 81 
 
 was substituted for Bruni, having a feeble and 
 very limited voice, but he was possessed of 
 some taste, and with more power would have 
 been a good singer. For want of a tenor, 
 Rovedino was employed to fill that part. 
 
 In her second season, another soprano, 
 named Neri, was tried, but he was so much 
 worse that he could not be tolerated for more 
 than one opera, and was immediately dis- 
 missed. After an interval, Roselli was re- 
 called ; Kelly also was engaged as tenor, 
 until the return of Viganoni to this country. 
 
 In a subsequent season (1800), she flat- 
 tered me highly by desiring to perform for 
 her benefit an opera of my composition, 
 which on private trial she had found to suit 
 her voice. This was the Zenobia of Metas- 
 tasio, an interesting and pathetic drama, and 
 she gave to the music an effect which its own 
 merits could never have produced in other 
 hands. The first man's part, being written 
 for a soprano, was allotted to Roselli, who 
 rehearsed it in private ; but his voice and 
 E 5
 
 82 BANTI. 
 
 powers were so unequal to its execution, that 
 it was found necessary to induce him to give 
 it up, and it was taken by Viganoni, who did 
 it far more justice. The part the latter was 
 to have played, and had actually learnt, was 
 given to Benelli, another tenor of considerable 
 merit, with whose performance I had every 
 reason to be satisfied. Rovedino was the 
 bass ; his daughter the second woman. Ha- 
 ving granted the use of this opera to Banti 
 only, I withdrew it immediately, and would 
 not permit it to be again represented for 
 the manager, who requested to have it. 
 After this, Roselli sung no more, nor had we 
 ever another soprano at the opera, till the 
 arrival of Velluti, twenty-five years later. 
 From this time Viganoni took the part of 
 first man, and continued to fill that station, 
 for which he was well qualified, both as 
 singer and actor, during the remainder of 
 Banti's stay, and for some seasons after. 
 His voice was not very strong, nor of a 
 superior tone or quality, but he was an
 
 BANTI. 83 
 
 excellent musician, had good taste, and con- 
 siderable versatility of talent, singing both 
 in the serious and comic opera, and ren- 
 dering himself generally useful. He must 
 be considered as a performer of great merit. 
 Little other change was made of the male 
 performers during the many years she resided 
 here. 
 
 Among the operas she performed, the most 
 favourite were Gluck's Alceste, in which she 
 very greatly excelled ; three of her songs in 
 it were generally repeated every night ; the 
 Ifigenia in Tauride of the same master ; 
 Paesiello's beautiful master piece, Elfrida ; 
 his Nina, or, La Pazza per Amore ; Mitridate, 
 by Nasolini, a young composer of great pro- 
 mise, but who died at an early age ; Alzira, 
 Merope, Cinna, and others composed ex- 
 pressly for her by Bianchi. Occasionally too 
 she acted in little comic operas, and was par- 
 ticularly successful in Paesiello's intermezzo, 
 La Serva Padrona, which she performed for 
 her benefit with Morelli, and repeated by
 
 84) BANTI. 
 
 command of their Majesties. Her exertions 
 never flagged, nor did her admirers ever 
 grow weary of her performance. I never 
 wished for another singer ; but the public 
 in general began at length to call out for 
 novelty, and Mrs. Billington having returned 
 to England from her tour in Italy, and as- 
 tonished with her wonderful execution all who 
 heard her at both the play-houses, where she 
 acted alternately, the manager of the opera 
 engaged her for the next season, and suffered 
 Banti to depart, which she was the more 
 ready to do, because her health began to de- 
 cline, and she was desirous of returning to her 
 native country, where she did not long survive. 
 But before the close of her last season 
 (1802), a singular and interesting performance 
 took place. Banti prevailed on Mrs. Bil- 
 lington to perform with her on the night 
 of her benefit, leaving to the latter the choice 
 of the opera, and the principal character. 
 Merope, by Portogallo, was fixed upon, in 
 which Mrs. Billington acted the heroine of
 
 GEliMANY. 85 
 
 the piece, and Banti took the part of Poli- 
 fonte, though written for a tenor voice. The 
 curiosity to hear these two celebrated singers 
 together, was so great, that the theatre over- 
 flowed, and even ladies were obliged to sit 
 on the stage, for want of other places. The 
 performance satisfied every expectation, and 
 the applause bestowed equally on both, was 
 as rapturous as it was well deserved. 
 
 Having thus brought to a close my ac- 
 count (perhaps too long a one) of my most 
 favourite singer, I will, before I proceed, make 
 cursory mention of the music which I heard 
 abroad during a short tour I made on the 
 continent, in the summer and autumn of the 
 year 1802. 
 
 Of course I could hear none that was good, 
 or even bearable, till I reached Germany. 
 But at Frankfort, during the fair, there was 
 a German opera, which gave me considerable 
 pleasure. I there saw the Achilles and the 
 Camilla of Paer, the Axur Re d'Ormus of 
 Salieri, the Cosa rara of Martini, and other
 
 86 GERMANY. 
 
 lighter pieces, all well performed. The first 
 female singer was Madame Lang, who had 
 long enjoyed a high reputation in Ger- 
 many.* She sung with science, and con- 
 siderable execution, very much in Mara's 
 style ; but her voice was evidently in decay, 
 and it was easy to see she had been better. 
 A Mademoiselle Miiller sung very agreeably 
 in the comic operas. The first man, named 
 Krebs, was come to Frankfort only for the 
 fair, from Stutgard, the place of his engage- 
 ment. He had a good tenor voice, and sung 
 well. I saw him again at Stutgard, in a 
 charming opera of Weigl, of which the 
 Italian name is L'Amor Marinaro, and it was 
 excellently sung and acted throughout. The 
 first woman, Madame Gley, was a very 
 pleasing performer in every respect ; in her 
 person (and she appeared in male attire), as 
 a singer, and as an actress. A duetto between 
 her and Krebs being called for a second time, 
 
 * Madame Lang was the sister-in-law of Mozart.
 
 PARIS. 87 
 
 they repeated it to the Italian words. I en- 
 deavoured a few years ago to get this opera 
 performed here, but could not succeed, though 
 it was acknowledged to be likely to please. 
 The travestissement of the first woman was, 
 I believe, the chief obstacle. The compo- 
 sitions of Weigl, though an excellent master, 
 are little known in England. 
 
 In passing through Manheim, I heard the 
 Danaides of Salieri, which was moderate, both 
 as to the music and performance. 
 
 On my way home, I made a short residence 
 at Paris, where there was then an Italian comic 
 opera, at which Lazzarini was first tenor, 
 and the principal female singers Strinasacchi 
 and Bolla. The former was the favourite, but 
 she did not strike me as particularly good, and 
 seemed a little passee. She has since passed 
 some years in England, without singing, being 
 now the wife of Ambrogetti, of whom I shall 
 have to speak at a future period. Bolla had 
 already been in this country, and will also be 
 mentioned hereafter.
 
 PARIS. 
 
 Of French music, the less that is said the 
 better ; but there were at this time at the 
 Theatre Feydeau two singers of great merit, 
 Elleviou and Martin, who had very little of 
 the national manner, and were most excellent 
 actors. The grand opera was in no respect 
 improved ; that human ears can bear it is 
 marvellous.
 
 BILLINGTON. 89 
 
 SECTION VI. 
 
 18031813. 
 
 Mrs. Billington-f-Grassini Braham-t-Catalani Tra- 
 mezzani-*-Bertinotti Pantheon Theatre re-opened 
 with operas Retrospective view of the Comic Opera 
 MorichellH-Bolla, &c. 
 
 I RETURN to the Opera, where Mrs. Billing- 
 ton now became sole first woman, with the 
 same moderately good set of male performers, 
 and opened the season of 1803 with the opera 
 of Merope, Viganoni filling the part which 
 Banti had performed. This justly famous 
 singer was born of a musical family ; her 
 mother, an English woman, having been a 
 vocal performer of some eminence in her line. 
 When Miss Weichsell, she distinguished her- 
 self early in life as a piano-forte player, as her 
 brother did on the violin. She also soon
 
 90 BILLINGTON. 
 
 gave promise of vocal excellence. When I 
 first heard her, in 1783, she was very young 
 and pretty, had a delightful fresh voice of very 
 high compass, and sung with great neatness 
 several songs composed for Allegranti, whom 
 she closely imitated. She was still young 
 when she first appeared at Covent Garden as 
 Mrs. Billington. After performing at that 
 theatre for several years, she went to Italy to 
 improve her taste, and returned from thence 
 a finished singer. Her voice, though sweet 
 and flexible, was not of that full nature which 
 formed the charm of Banti's, but was rather 
 a voce di testa, and in its very high tones 
 resembled a flute or flageolet. Its agility was 
 very great, and every thing she sung was 
 executed in the neatest manner, and with the 
 utmost precision. Her knowledge of music 
 enabled her to give great variety to her em- 
 bellishments, which, as her taste was good, 
 were always judicious. 
 
 With all these great and undisputed ex- 
 cellencies something yet was wanting ; for she
 
 GRASSIKI. 91 
 
 possessed not the feeling to give touching 
 expression, even when she sung with the 
 utmost delicacy and consummate skill. Her 
 face was handsome and her countenance full 
 of good humour, but it was incapable of 
 change, and she was no actress. I therefore 
 missed Band extremely during her whole first 
 season, and did not admire her as much as 
 the public at large, nor as I afterwards did 
 when I became more fully acquainted with 
 her merits, which, strange to say, I began to 
 appreciate more highly from the very cir- 
 cumstance which rather lowered her favour, 
 and she rose in my estimation from the com- 
 parison which tended rather to sink her in 
 that of the public. 
 
 The event to which I allude was the arrival 
 of Grassini, who was engaged for the next 
 season to sing alternately with Mrs. Billington. 
 This very handsome woman was in every 
 thing the direct contrary of her rival. With 
 a beautiful form, and a grace peculiarly her
 
 92 GRASSINI. 
 
 own, she was an excellent actress, and her 
 style of singing was exclusively the cantabile, 
 which became heavy d la tongue, and bordered 
 a little on the monotonous : for her voice, 
 which it was said had been a high soprano, 
 was by some accident reduced to a low and 
 confined contralto. She had entirely lost all 
 its upper tones, and possessed little more than 
 one octave of good natural notes ; if she 
 attempted to go higher, she produced only a 
 shriek, quite unnatural, and almost painful to 
 the ear. Her first appearance was in La 
 Vergine del Sole, an opera of Mayer's, well 
 suited to her peculiar talents ; but her success 
 was not very decisive as a singer, though her 
 acting and her beauty could not fail of ex- 
 citing high admiration. So equivocal was her 
 reception, that when her benefit was to take 
 place she did not dare encounter it alone, 
 but called in Mrs. Billington to her aid, 
 and she, ever willing to oblige, readily con- 
 sented to appear with her. The opera, com-
 
 GIIASSINI. 93 
 
 posed for the occasion by Winter, was II 
 Ratto di Proserpina, in which Mrs. Billington 
 acted Ceres, and Grassini Proserpine. And 
 now the tide of favour suddenly turned ; the 
 performance of the latter carried all the 
 applause, and her graceful figure, her fine 
 expression of face, together with the sweet 
 manner in which she sung several easy simple 
 airs, stamped her at once the reigning fa- 
 vourite. Her deep tones were undoubtedly 
 fine, and had a particularly good effect, when 
 joined with the brilliant voice of Mrs. Billing- 
 ton ; but though, from its great success, this 
 opera was frequently repeated, they never 
 sang together in any other. Grassini, having 
 attained the summit of the ladder, kicked 
 down the steps by which she had risen, and 
 henceforth stood alone. Not only was she 
 rapturously applauded in public, but she was 
 taken up by the first society, fetee, caressed, 
 and introduced as a regular guest in most of 
 the fashionable assemblies. Of her private 
 claims to that distinction it is best to be silent,
 
 94 B 11 A II AM. 
 
 but her manners and exterior behaviour were 
 proper and genteel. 
 
 As I before observed, it was the comparison 
 of these two rival performers that discovered 
 to me the great superiority of Mrs. Billington 
 as a musician and as a singer. But as every 
 one has eyes, and but few musical ears, the 
 superior beauty was the most generally ad- 
 mired, and no doubt the deaf would have 
 been charmed with Grassini, while the blind 
 must have been delighted with Mrs. Bil- 
 lington. 
 
 For two more years both these singers 
 continued to perform alternately, and the 
 only material change in the company was 
 the introduction of Braham, at first con- 
 jointly with Viganoni, and afterwards as sole 
 first man when the latter quitted the coun- 
 try. Though it seems needless to say much 
 of so well-known a performer, yet it is im- 
 possible to pass over a singer of Braham's 
 reputation without some remark. All must 
 acknowledge that his voice is of the finest
 
 BE AH AM. 95 
 
 quality, of great power, and, occasionally, 
 sweetness. It is equally certain that he 
 has great knowledge of music, and can sing 
 extremely well. It is therefore the more to 
 be regretted that he should ever do other- 
 wise ; that he should ever quit the natural 
 register of his voice by raising it to an un- 
 pleasant falsetto, or force it by too violent 
 exertion ; that he should depart from a good 
 style, and correct taste, which he knows and 
 can follow as well as any man, to adopt, at 
 times, the over-florid and frittered Italian 
 manner ; at others, to fall into the coarseness 
 and vulgarity of the English. The fact is, 
 that he can be two distinct singers, according 
 to the audience before whom he performs, 
 and that to gain applause he condescends to 
 sing as ill at the playhouse as he has done 
 well at the opera. His compositions have 
 the same variety, and he can equally write a 
 popular noisy song for the one, or its very 
 opposite for the other. A duetto of his, in- 
 troduced into the opera of Gli Orazj, sung by
 
 96 B RAH AM. 
 
 himself and Grassini, had great beauty, and 
 was in excellent taste.* 
 
 The operas in which Mrs. Billington ex- 
 celled most, were La Clemenza di Scipione, 
 composed by the celebrated Bach, and now 
 revived for the first time since it was per- 
 formed in its novelty by Miss Davies : Pae- 
 siello's Elfrida; Armida; Castore e Polluce, 
 and others by Winter; and Mozart's Cle- 
 menza di Tito, which was the first of his 
 operas ever acted in this country. She like- 
 wise occasionally played in comic operas, as 
 will be noticed hereafter. 
 
 Grassini performed Gli Orazj e Curiazj, 
 the chef-d'oeuvre of Cimarosa, and her own, 
 
 * Brahamhas done material injury to English singing, 
 by producing a host of imitators. What is in itself not 
 good, but may be endured from a fine performer, 
 becomes insufferable in bad imitation. Catalani has 
 done less mischief, only because her powers are unique 
 and her astonishing execution unattainable. Many 
 men endeavour to rival Braham ; no woman can 
 aspire to being a Catalani.
 
 CATALANI. 97 
 
 (her acting in the last scene being most 
 excellent), Zaira, by Winter ; La Morte di 
 Cleopatra, by Nasolini ; and the Camilla of 
 Paer. 
 
 After three years of divided reign, both 
 retired ; Mrs. Billington, though in full pos- 
 session of all her powers, quitting the stage 
 entirely, and Grassini, feeling her extreme 
 high favour a little on the decline, wisely 
 returning to Italy.* 
 
 The great, the far-famed Catalani supplied 
 the place of both, and for many years reigned 
 alone, for she would bear no rival, nor any 
 singer sufficiently good to divide the applause. 
 Of this celebrated performer it is well known 
 that her voice is of a most uncommon quality, 
 and capable of exertions almost supernatural. 
 Her throat seems endued (as has been re- 
 marked by medical men) with a power of 
 
 * After her retirement from her profession, Mrs. 
 Billington lived for a few years in England, and then 
 went again to Italy, where she very soon died. 
 F
 
 98 CATALANI. 
 
 expansion and muscular motion by no means 
 usual, and when she throws out all her voice 
 to the utmost, it has a volume and strength 
 that are quite surprising, while its agility in 
 divisions, running up and down the scale in 
 semi-tones, and its compass in jumping over 
 two octaves at once, are equally astonishing. 
 It were to be wished she was less lavish in 
 the display of these wonderful powers, and 
 sought to please more than to surprise ; but 
 her taste is vicious, her excessive love of 
 ornament spoiling every simple air, and her 
 greatest delight (indeed her chief merit) being 
 in songs of a bold and spirited character, 
 where much is left to her discretion (or in- 
 discretion), without being confined by the 
 accompaniment, but in which she can indulge 
 in ad libitum passages with a luxuriance and 
 redundancy no other singer ever possessed, 
 or if possessing ever practised, and which she 
 carries to a fantastical excess. She is fond of 
 singing variations on some known simple 
 air, and latterly has pushed this taste to the
 
 CATALANI. ijy 
 
 very height of absurdity, by singing, even 
 without words, variations composed for the 
 fiddle. This is absolute nonsense, a lament- 
 able misapplication of that finest of instru- 
 ments, the human voice, and of the delightful 
 faculty of song. Whenever I hear such 
 an outrageous display of execution, either 
 vocal or instrumental, I never fail to recol- 
 lect, and cqrdially join in, the opinion of a 
 late noble statesman, more famous for his 
 wit than for love of music, who, hearing a 
 remark on the extreme difficulty of some per- 
 formance, observed, that he wished it was 
 impossible * 
 
 From what has been said, it may readily be 
 conceived that Catalani has a bad choice in 
 
 * This ban mot has generally been given to Dr. John- 
 son, but I have reason to' know it was said by the noble 
 Lord alluded to, of whom a similar one is recorded con- 
 firming his distaste for music. Being asked why he 
 did not subscribe to the Ancient Concerts, and it being 
 urged as a reason for it that his brother the Bishop of 
 W"****** did, " Oh," replied his Lordship, " If I 
 was as deaf as my brother, I would subscribe too."
 
 100 CATALANT. 
 
 music, and that she prefers the compositions 
 of inferior masters, written expressly for her- 
 self, to the more regular of better composers. 
 She found one here precisely to her taste, in 
 Pucitta, who had been successful in two very 
 light, but pleasing comic operas. Him she 
 employed to compose for her several serious, 
 to which he was unequal ; all of them were 
 very moderate, La Vestale the best. She 
 performed however in many others ; Semi- 
 ramide, by Portogallo, which she chose for 
 her debut, but it was very inferior to Bianchi's ; 
 Mitridate, Elfrida, and, much to her dissatis- 
 faction, La Clemenza di Tito, for she detested 
 Mozart's music, which keeps the singer too 
 much under the controul of the orchestra, 
 and too strictly confined to time, which she 
 is apt to violate. Yet she first introduced to 
 our stage his Nozze di Figaro, in which she 
 acted the part of Susanna admirably. In the 
 Orazj she performed the first soprano's part 
 of Curiazio, that of the first woman being 
 filled by Ferlendis, a pretty good actress, at
 
 CATALANI. 101 
 
 that time first buffa. But she totally disre- 
 garded the general effect of an opera, and the 
 cast of all the other characters, whatever 
 might be the disadvantage of it to the other 
 performers, if she was indulged in her whim- 
 sical choice of parts for herself. Thus in 
 Didone, she caused the part of Enea to be 
 done by Madame Dussek, who had neither 
 voice, figure, nor action for the character ; 
 and in another opera she made Madame 
 Dussek act the first woman's part, choosing 
 for herself that of the first man. 
 
 Latterly she assumed also the place of first 
 buffa, and succeeded equally well in that line. 
 Indeed she gave me more pleasure in the 
 comic than the serious operas, as she sung 
 with greater simplicity and ease. In both, 
 her acting was excellent ; in the one, majestic, 
 forcible, and expressive ; in the other, natural, 
 playful, and genteel. Her face and figure 
 were suited to both ; for she is very hand- 
 some, with a countenance peculiarly fine on 
 the stage, and capable of great variety of
 
 TRAMEZZANI. 
 
 expression. Though the outline of her fea- 
 tures is decidedly tragic (almost Siddonian), 
 yet she can relax them into the most charm- 
 ing smile, and assume the character not merely 
 of gaiety, but even of niaiserie, and of arch 
 simplicity ; so that her versatile powers 
 fit her for every style. With all her faults 
 therefore (and no great singer ever had so 
 many), she must be reckoned a very fine 
 performer, and if the natural powers with 
 which she is so highly gifted were guided by 
 sound taste and judgment, she might have 
 been a perfect one. 
 
 The male performers with Catalani were 
 for the most part of a very inferior descrip- 
 tion, and fit only for second singers. The 
 first exception was Siboni, who sung well, 
 but with a thick and tremulous voice: he 
 staid however only a short time. After an 
 interval, he was succeeded by Tramezzani, 
 one of the most agreeable tenors I ever 
 remember to have heard. This very good 
 performer was introduced accidentally to our
 
 TRAMEZZANI. 103 
 
 stage, to which he proved so valuable an ac- 
 quisition. Arriving here without any previous 
 engagement during a season for which Cata- 
 lani had on some dispute with the manager 
 quitted the theatre, leaving no first rate 
 singers of any sort, and when only comic 
 operas could be acted, and even those with 
 mediocrity, he was immediately brought for- 
 ward in a serious one, called Sidagero, by 
 Guglielmi, which was in fact an oratorio 
 with a slight change of the words and names. 
 Tramezzani's debut in it was most successful, 
 the music very beautiful, and his perform- 
 ance, especially as an actor, most admirable. 
 He had a very handsome person, and was 
 full of animation and feeling. His voice was 
 of the sweetest quality, of that rich, touching, 
 cremona tone peculiar to the Italians, and his 
 singing, if not of the first order, or very 
 scientific, was always pleasing, and full of 
 expression. He continued to be a great favour- 
 ite during all his stay (of several years) in 
 this country. Two female singers came over
 
 104 BERTINOTTI. 
 
 with him, both of whom performed in this 
 opera, Calderini as first woman, in every 
 way disagreeable, and soon parted with, and 
 Bianchi, who remained as a respectable se- 
 cond. 
 
 Towards the close of Catalani's engage- 
 ment, another first woman was brought over, 
 to perform alternately with her. This was 
 Bertinotti, who had a pleasing voice and a 
 good manner of singing ; but after giving 
 satisfaction in one serious opera of Zaira, in 
 which her songs were composed by her hus- 
 band Radicati, was less successful in a second, 
 upon which she took to the comic opera, and 
 performed extremely well in Mozart's Cos! 
 fan Tutte, which was admirably acted in every 
 part, the other female characters being filled 
 by Collini and Cauvini, two very pretty wo- 
 men, and pleasing actresses ; the male by Tra- 
 mezzani, Cauvini, a very respectable tenor, 
 and Naldi, an excellent buffo. She also sung 
 in the Flauto magico of the same composer : 
 and Sidagero was revived, in which she per-
 
 PANTHEON. 105 
 
 formed the part of the first woman far better 
 than her predecessor. 
 
 So many performers of considerable talent 
 could not be agreeable to Catalan!, whose 
 love of supreme power and sole admiration 
 made their situation so unpleasant, that half 
 the company quitted the theatre, and esta- 
 blished themselves at the Pantheon, which 
 had been rebuilt, and undergone a second 
 transformation. On its restoration it was first 
 fitted up as a concert room, with as much 
 ingenuity to make it ugly as bad taste could 
 invent ; and it was as supremely so as it had 
 been beautiful originally. No entertainments 
 having succeeded in it, it was again meta- 
 morphosed into a theatre, which the seceders 
 obtained leave to open. These consisted of 
 Bertinotti, Collini, the two Cauvinis, Morelli 
 (now very old), and a few others to fill up 
 the company, among whom Miss Stephens, 
 now become so favourite a singer, was engaged 
 as last woman, being her first appearance on 
 any stage. But as their licence was only for 
 F 5
 
 106 
 
 PANTHEON. 
 
 intermezzos, or operas of one act, and dancing 
 without ballets d'action, the performances were 
 not very attractive, and soon ceased. This 
 happened the sooner, from a report indus- 
 triously circulated, and published in the news- 
 papers with the attestation of an architect, 
 that the external walls, though not much 
 injured by the fire, were yet unequal to 
 bearing the weight of the new roof which 
 had been erected upon them, and that the 
 building was unsafe. It was therefore so 
 little frequented, that it soon closed, and the 
 singers dispersed, most of them, amongst 
 whom was Bertinotti, leaving the country. 
 The theatre still stands, but, its reputation 
 being thus blasted, has never been re-opened, 
 and a house of excellent shape, and great 
 convenience, capable of being made one of 
 the prettiest in London, is thus lost to the 
 public.* 
 
 Catalani was now the only performer of 
 
 * This building has just undergone another trans- 
 formation, and been opened as a bazaar.
 
 CATALANI. 107 
 
 any eminence remaining in England, and led 
 in both lines : but as one singer does not 
 constitute an opera,* and neither her dis- 
 position would bear with others, nor the 
 extravagance of her annually increasing de- 
 mands allow the manager to engage them, 
 she at length quitted the theatre at the end 
 of the season of 1813, having first endea- 
 voured to purchase it, and thereby become 
 sole proprietor, sole manager, and sole ac- 
 tress. 
 
 After she left our stage she for many years 
 never trod any other, except at Paris, where 
 she opened a small theatre under her own 
 management, but the undertaking was not suc- 
 cessful. It is singular that the most famous 
 singer and actress of her time should remain 
 so long without any theatrical engagement; 
 but her inordinate terms make it impossible for 
 any manager to incur so great an expense, and 
 
 * Her husband, M. Valabregue, was of a very diffe- 
 rent opinion : he is reported to have said, " Ma femme, 
 et quatre ou cinq poupees, voila tout ce qu'il faut."
 
 108 CAT A LAN I. 
 
 she has found it more agreeable to her taste, 
 and probably more advantageous to her in- 
 terest, to travel throughout nearly the whole 
 of Europe giving concerts, at which she is 
 generally the only vocal performer. She has 
 made two such visits to England, and may in 
 all probability make more, as she retains a 
 partiality for this country, where she has been 
 more extravagantly admired and paid than 
 in any other. She has had the least success 
 in her own, where she has sung but little, 
 and where her talents are appreciated at their 
 just value. As in what has been said she may 
 have appeared in rather an unamiable light, 
 it is but justice to add, that off the stage 
 there is not an unamiable trait in her charac- 
 ter. She is an excellent woman, and in every 
 relation of private life her conduct is irre- 
 proachable. 
 
 As I consider Catalan! to be the last great 
 singer heard in this country whose name is 
 likely to be recorded in musical annals ; and 
 as, soon after her departure, a new aera began
 
 COMIC OPERA. 109 
 
 in our opera, I shall here pause, and after 
 going back to notice shortly the comic opera 
 from the time where I interrupted my ac- 
 count of it, shall close this long period with 
 a few general remarks. 
 
 So frequent and rapid were the changes 
 which took place in the comic department, 
 that it would be as difficult as unnecessary to 
 observe a strict regularity in the account of 
 them. I shall therefore not attempt it, but 
 only mention the principal singers and per- 
 formances as they occur to me. 
 
 Together with Band came Morichelli, who 
 was cried up beforehand as her equal if not 
 her superior. If her admirers were forced to 
 admit that her voice was inferior to Band's, 
 she was, they said, a much better musician. 
 So she might be, but never could have been 
 half so delightful a singer, and she was now 
 past her prime ; her voice was not true, her 
 taste spoilt by a long residence at Paris, 
 where she adopted much of the national style, 
 and her manner and acting were affected.
 
 110 COMIC OPERA. 
 
 In short, she did not please generally, though 
 there was a strong party for her (who foretold 
 she would in time eclipse her more brilliant 
 rival), and after her second season she went 
 away, leaving behind her, in every print shop, 
 her portrait, with the flattering, but false 
 inscription, " Parti, ma vide che adorata 
 partiva." 
 
 The best of her successors, and far better 
 than herself, was Bolla, a very pretty woman, 
 and pleasing genteel actress, who with a 
 better voice would have been an excellent 
 singer. She was very successful in the Zin- 
 gari in Fiera, and in Nina, which latter opera 
 she performed for her benefit in a novel and 
 singular manner, the dialogue being spoken 
 in prose without recitative, which had not a 
 bad effect; but this way of acting it was 
 deemed an infringement of the rights of the 
 English theatres, and after a few nights it 
 was stopped by authority, as unlawful at the 
 Opera. 
 
 Such a succession of very indifferent per-
 
 COMIC OPEKA. 
 
 Ill 
 
 formers followed, none of whom stayed more 
 than one season, some not so long, that I 
 have little to add but a list of names. Among 
 them were Vinci, a great woman, with great 
 pretensions, aiming at much, and failing in 
 every thing : Gerbini, a bad singer, without 
 voice, but a good player on the fiddle, having 
 been educated in a conservatorio at Venice : 
 Perini, very near being a good singer, but 
 not agreeable : Fabrizzi, very far from a bad 
 one, but neither young nor pretty, therefore 
 not liked : Angelelli, both young and pretty, 
 but much too weak for the stage, for which 
 she was not designed ; for she was the daugh- 
 ter of an English gentleman resident in Italy, 
 and well brought up ; with a pretty voce di 
 camera, she was a good amateur singer ; her 
 theatrical name was feigned, and she was 
 soon after well married in Germany. Poor 
 Allegranti's re-appearance has been men- 
 tioned ; and some others, too bad to mention 
 at all, just passed in review, and disappeared 
 immediately. One alone who appeared thus
 
 112 COMIC OPERA. 
 
 transiently ought to have been more admired, 
 and retained. This was Marconi, an excel- 
 lent singer and very genteel actress ; but her 
 voice was the deepest contralto of a female's 
 I ever heard, and she did not please, though 
 she performed in a very pretty opera, called 
 Adolfo e Clara (from the French of that 
 name), extremely well acted in all its parts, 
 by Tramezzani, Naldi, and a new buffo with 
 a good voice and considerable talent, whose 
 name I forget, as he too was never engaged, 
 and the opera was laid aside after a very few 
 representations. If Marconi's voice was too 
 low for a prima donna, she would have been 
 of infinite use to the theatre for contralto 
 parts, and an admirable performer of male 
 characters in the serious opera. She staid so 
 short a time in England as to be scarcely 
 known. 
 
 It happening once that both the first women, 
 serious and comic, were prevented by illness 
 from performing (so that the theatre must 
 have been shut), Mrs. Bland of Drury Lane was
 
 COMIC OPERA. 113 
 
 engaged for a few nights, and performed very 
 creditably to herself and agreeably to the 
 audience, in the operas of La Frascatana, and 
 Gli Schiavi per Amore.* 
 
 Storace was frequently called in, some- 
 times alone, at others to give additional 
 strength to some particular opera, as in Mar- 
 tini's Arbore di Diana with Fabrizzi, in which 
 also sung Viganoni, Braham, and Morelli. 
 In another season, La Cosa Kara, by the same 
 composer, was performed by the same singers, 
 with the addition of Kelly, and the important 
 substitution of Mrs. Billington for Fabrizzi. 
 Storace likewise appeared with Naldi in his 
 first opera. This excellent actor was a good 
 musician, and, as far as his powers allowed, 
 a good singer, but his voice was weak and 
 
 * Though Mrs. Bland was only a singer of the second 
 class, few, if any, English singers who have appeared 
 at the opera sung with such pure Italian taste, or 
 equalled her in recitative and pronunciation of the 
 language. Her maiden name was Romanzini, so she 
 might have been of Italian origin.
 
 114 COMIC OPERA. 
 
 uncertain. Soon after, Mrs. Billington per- 
 formed with Naldi in the Fanatico per la 
 Musica, in which she took the opportunity 
 of displaying her talents as an instrumental 
 performer by accompanying herself on the 
 piano-forte. 
 
 Recourse was occasionally had to Mrs. 
 Dickons, but she produced little effect on the 
 Italian stage ; her best part was the Countess 
 in Figaro. 
 
 Ferlendis, who has been already alluded 
 to, was I think less liked than she deserved, 
 for she had a very good contralto voice, and 
 was far from a bad buffa. She would have 
 been thought, too, to have acted the part of 
 Orazia well, had it not been for the compa- 
 rison with Grassini, and for Catalani's then 
 eclipsing every body. On Catalani's tem- 
 porary secession, Collini was engaged, but 
 soon found unequal to a first woman's part ; 
 and to her was added the wife of the com- 
 poser Pucitta, whose two comic operas were 
 then performed with considerable success.
 
 GENERAL REMARKS. 115 
 
 The most favourite was La Caccia di Enrico, 
 which Catalan! herself afterwards acted, but 
 changed and added to the music. The two 
 above-named singers were both very good as 
 seconds, and the former of them, having a fine 
 contralto voice, was often employed as first 
 man in serious operas. 
 
 At length, Catalani assumed both depart- 
 ments, and after her leaving the stage they 
 were rarely separated, the whole style of 
 operas being in a year or two materially 
 changed, as I shall presently show. 
 
 But first I would take a short retrospective 
 view of the two last periods, and bring into 
 comparison with each other the five great 
 female singers of whom I have spoken so 
 much at length individually. 
 
 They may be divided into two classes, of 
 which Madame Mara and Mrs. Billington form 
 the first ; and they were in most respects 
 so similar, that the same observations will 
 apply equally to both. Both were excellent
 
 116 GENERAL REMARKS. 
 
 musicians, thoroughly skilled in their pro- 
 fession ; both had voices of uncommon sweet- 
 ness and agility, particularly suited to the 
 bravura style, and executed to perfection, and 
 with good taste, every thing they sung. But 
 neither was an Italian, and consequently both 
 were deficient in recitative : neither had much 
 feeling or theatrical talent, and they were 
 absolutely null as actresses ; therefore they 
 were more calculated to give pleasure in the 
 concert-room than on the stage. 
 
 The other three, on the contrary, had great 
 and distinguished dramatic talents, and seemed 
 born for the theatrical profession. They were 
 all likewise but indifferently skilled in music, 
 supplying by genius what they wanted in 
 science, and thereby producing the greatest 
 and most striking effects on the stage : these 
 are their points of resemblance. Their dis- 
 tinctive differences, I should say were these ; 
 Grassini was all grace, Catalani all fire, Band 
 all feeling ; and by a singular coincidence,
 
 GENERAL REMARKS. 117 
 
 forming almost exact counterparts of the three 
 great singers before compared together, the 
 first may be said to have borne a strong re- 
 semblance in her style to Rubinelli, the second 
 to Marchesi, and the third to have united in 
 a high degree all the varied excellencies of 
 Pacchierotti. 
 

 
 118 MODERN OPERAS. 
 
 SECTION VII. 
 
 18141823. 
 
 Change of style in music and modern operas Rossini 
 Mozart Short account of the opera during this 
 period Camporese. 
 
 THE opera in England for the period of ten 
 years after the departure of Catalani, will 
 afford much less room for observation than 
 any of the preceding, as far as the singers 
 are concerned ; for, with one or two excep- 
 tions, there were not any of whom I feel 
 inclined to say much, because there is not 
 much to be said in their praise. But so great 
 a change has taken place in the character of 
 the dramas, in the style of the music, and in 
 its performance, that I cannot help enlarging a 
 little on that subject before I proceed farther. 
 
 One of the most material alterations is,
 
 MODERN OPERAS. 119 
 
 that the grand distinction between serious and 
 comic operas is nearly at an end, the sepa- 
 ration of the singers for their performance 
 entirely so. Not only do the same sing in 
 both, but a new species of drama has arisen, 
 a kind of mongrel between them, called 
 semi-seria, which bears the same analogy to 
 the other two that that non-descript the 
 melo-drama does to the legitimate tragedy 
 and comedy of the English stage. The con- 
 struction of these newly-invented pieces is 
 essentially different from the old. The dia- 
 logue, which used to be carried on in recita- 
 tive, and which in Metastasio's operas is 
 often so beautiful and interesting, is now cut 
 up (and rendered unintelligible if it were 
 worth listening to) into pezzi concertatl, or 
 long singing conversations, which present 
 a tedious succession of unconnected, ever- 
 changing motives, having nothing to do with 
 each other ; and if a satisfactory air is for a 
 moment introduced, which the ear would like 
 to dwell upon, to hear modulated, varied, and
 
 120 MODERN OPERAS. 
 
 again returned to, it is broken off before it 
 is well understood or sufficiently heard, by 
 a sudden transition, into a totally different 
 melody, time, and key, and recurs no more : 
 so that no impression can be made, or recol- 
 lection of it preserved.* Single songs are 
 
 * In the periodical paper called The Looker-on 
 (No. 74) is the following passage, most apposite to this 
 subject. The author, comparing the arts of painting 
 and music, says 
 
 " In the objects which exercise the sense of seeing, 
 " beauty of figure may be resolved into uniformity, 
 " variety, and proportion. Uniformity, because it pro- 
 " duces facility of conception, and enables the whole to 
 " enter easily into the mind ; variety, because it gra- 
 " tifies the appetite for novelty, and puts the mind into 
 " action by a transition from one contemplation to 
 " another; proportion, because it gratifies our moral 
 " sense of fitness and utility. Beauty in music results 
 " from nearly the same causes : that is, addresses itself 
 " to the same seated principles of the mind. It is here 
 " that a variety of the parts and tones under the same 
 " key, that is, a particular variety subordinate to a 
 " general uniformity, excites those pleasing sensations 
 " which constitute a sense of beauty. In harmony,
 
 MODERN OPERAS. 121 
 
 almost exploded, for which one good reason 
 may be given, that there are few singers 
 capable of singing them. Even a prima donna, 
 who would formerly have complained at having 
 less than three or four airs allotted to her, is 
 now satisfied with one trifling cavatina for a 
 whole opera. 
 
 The acknowledged decline of singing in 
 general (which the Italians themselves are 
 obliged to confess) has no doubt in a great 
 measure occasioned this change. But another 
 cause has certainly contributed to it, and that 
 is the difference of the voices of the male 
 performers. Sopranos have long ceased to 
 exist, but tenors for a long while filled their 
 place. Now even these have become so 
 
 " that variety is more complicated, but it is still va- 
 " ricty under the controul of a certain uniformity, and 
 " submittted to strict rules of proportion." 
 
 Nothing can be more just, or more clearly expressed, 
 than this definition, or a more decided condemnation 
 by anticipation of the modern style of music. It was 
 written in 1793. 
 
 G
 
 122 MODERN OPERAS. 
 
 scarce, that Italy can produce no more than 
 two or three very good ones. The generality 
 of voices are basses, which for want of better 
 are thrust up into the first characters, even 
 in serious operas where they used only to 
 occupy the last place, to the manifest injury 
 of melody, and total subversion of harmony, 
 in which the lowest part is their peculiar 
 province. 
 
 These new first singers are called by the 
 novel appellation of basso cantante (which by 
 the bye is a kind of apology, and an acknow- 
 ledgment that they ought not to sing) and 
 take the lead in operas with almost as much 
 propriety as if the double bass were to do so 
 in the orchestra, and play the part of the first 
 fiddle. A bass voice is too unbending, and 
 deficient in sweetness for single songs, and 
 fit only for those of inferior character, or of 
 the buffo style. In duettos it does not co- 
 alesce well with a female voice, on account 
 of the too great distance between them, and 
 in fuller pieces the ear cannot be satisfied
 
 MODERN OPERAS. 123 
 
 without some good intermediate voices to fill 
 up the interval, and complete the harmony. 
 Yet three or four basses now frequently over- 
 power one weak tenor, who generally plays 
 but a subordinate part.* 
 
 Composers therefore having few good 
 voices, and few good singers to write for, 
 have been obliged to adapt their compositions 
 to the abilities of those who were to perform 
 them ; and as four, five, or six moderate 
 performers produce a better effect jointly 
 than they could by their single efforts, songs 
 have disappeared, and interminable quartettes, 
 quintettes, sestettos, &c. usurp their place. 
 Every opera is filled with such pieces, 
 
 * It has always surprised me that the principal cha- 
 racters in two of Mozart's operas should have been 
 written for basses, namely, Count Almaviva, and Don 
 Giovanni, both of which seem particularly to want the 
 more lively tones of a tenor ; and I can account for it 
 no otherwise than by supposing they were written for 
 some particular singer who had a bass voice, for he has 
 dpne so in no other instance.
 
 124 MODERN OPERAS. 
 
 which in fact are so many finales, such as 
 formerly were never used but at the end of 
 the acts of comic operas, to which alone they 
 are appropriate.* These after wearying the 
 attention for a longer time than half a dozen 
 old songs, generally conclude by a noisy crash 
 of voices and instruments, in which the 
 harmony is frequently distracted, each per- 
 sonage engaged in the scene having perhaps 
 to express a different passion, and the whole 
 vocal part almost overpowered by so loud 
 and busy an accompaniment that the voices 
 themselves are nearly lost. It is really dis- 
 tressing to hear the leading voice strained 
 almost to cracking, in order to be audible over 
 a full chorus and full orchestra, strengthened 
 often by trumpets, trombones, kettle-drums, 
 and all the noisiest instruments. I confess 
 
 * In serious operas, while they were in three acts, 
 the two first were ended by a duetto of the first man 
 and woman, and a terzetto with the tenor. The inferior 
 singers never joined in any concerted piece.
 
 MODERN OPERAS. 125 
 
 that I derive little or no pleasure from these 
 pieces, which to my ears are scarcely music, 
 but mere noise.* It is evident that in such 
 compositions each individual singer has little 
 room for displaying either a fine voice or 
 good singing, and that power of lungs is 
 more essential than either. Very good singers 
 therefore are scarcely necessary, and it must 
 be confessed that though there are now none 
 so good, neither are there many so bad as I 
 remember in the inferior characters. In 
 these levelling days, equalization has ex- 
 tended itself to the stage and musical pro_ 
 fession ; and a kind of mediocrity of talent 
 prevails, which, if it did not occasion the 
 
 * I would not be understood to mean that I like no 
 sort of pezzi concertati or chorus. I would only have 
 them in their proper place, fewer and shorter. No 
 opera chorusses are very good, and they should not be 
 long, because being to be sung by memory and by bad 
 singers, it is next to an impossibility that an intricate 
 or elaborate composition should be sung well any where, 
 and at our opera they are generally most miserably- 
 performed.
 
 126 MODERN OPERAS. 
 
 invention of these melo-dramatic pieces is at 
 least very favourable to their execution.* 
 
 These observations apply in the strongest 
 manner to the compositions of the present 
 favourite (I might almost say sole) composer 
 
 * Since the above was written, I have met with a pas- 
 sage in Schlegel's Lectures on Dramatic Literature 
 (translated by Black), so entirely corroborating what 
 I have said, that I cannot help subjoining it. 
 
 " A few only of the operas of Metastasio still keep 
 " possession of the stage, as the change of taste in music 
 " demands a different arrangement of the text. Metas- 
 " tasio seldom has chorusses, and his airs are almost 
 " always for a single voice : with these the scenes uni- 
 " formly terminated, and the singer never fails to make 
 " his exit with them. In an opera we now. require 
 " more frequent duos and trios, and a crashing finale. 
 " In fact, the most difficult problem for the opera poet 
 " is the mixing the complicated voices of conflicting 
 " passions in one common harmony, without injuring 
 " their essence: a problem however which is generally 
 " solved by both poet and musical composer in a very 
 " arbitrary manner." The consequence of this is that 
 all the new dramas written for Rossini's music, are 
 most execrably bad, and contain scarcely one line that 
 can be called poetry, or even one of common sense.
 
 ROSSINI. 127 
 
 of Italy, Rossini, whose music alone is now 
 liked in that country, and with which for 
 several seasons we were satiated in this. 
 That he is possessed of genius and invention 
 cannot be denied, but they are not guided 
 by good taste, and may be deemed too fan- 
 ciful : neither are they inexhaustible, for he is 
 so rapid and so copious a writer that his ima- 
 gination seems already to be nearly drained, 
 as no one is so great a plagiarist of himself. 
 His compositions are so similar, and bear so 
 strong a stamp of peculiarity and mannerism, 
 that while it is impossible not to recognize 
 instantly a piece of music as his, it is fre- 
 quently difficult to distinguish one from ano- 
 ther. At least I frankly confess my inability 
 to do so, and that very few of his composi- 
 tions remain in my memory. This great 
 sameness is of course augmented in no slight 
 degree by the style now in vogue. If a 
 single piece of music (or what is to be con- 
 sidered as such) is to contain as many dif- 
 ferent subjects as would make three or four,
 
 128 EOSSINJ. 
 
 the composer's imagination must be wonder- 
 fully fertile indeed if the same ideas did not 
 often recur, as the demand for new is at least 
 quadrupled. 
 
 Of the operas of Rossini that have been 
 performed here, that of La Gazza Ladra is 
 most peculiarly liable to all the objections I 
 have made to the new style of drama, of 
 which it is the most striking example. Its 
 finales, and many of its very numerous pezzi 
 concertati are uncommonly loud, and the 
 lavish use made of the noisy instruments ap- 
 pears to my judgement singularly inappro- 
 priate to the subject, which though it might 
 have been rendered touching,* is far from 
 calling for such warlike accompaniments. 
 Nothing can be more absurd than the manner 
 in which this simple story is represented in 
 the Italian piece (taken, as well as the Eng- 
 lish one on the same subject, from La pie 
 
 * That it may be so in a high degree, all must have 
 felt who have seen Miss Kelly act the part in the Maid 
 and the Magpie.
 
 ROSSINI'. 129 
 
 voleuse), or than to see a young peasant 
 servant girl, accused of a petty theft, led to 
 trial and execution under a guard of soldiers 
 with military music. But this is a melo- 
 drama, in which it is not merely allowable 
 but almost necessary to violate truth, nature, 
 and probability. This can have been done 
 only to afford the composer an opportunity 
 of indulging his taste for t\\e fortissimo. 
 
 The opera of Tancredi is much liked by 
 his admirers, and there are certainly two or 
 three very good and pleasing pieces of music 
 in it : but when the principal, or at least the 
 favourite, song of a first man in a heroic opera 
 is not only capable of being converted into a 
 quadrille, but appears better adapted to that 
 purpose than any other, all idea of its pro- 
 priety and fitness for its situation must be 
 put totally out of the question. Yet such is 
 the case with the famous air, Di tanti palpiti, 
 which, though pleasing in itself, is composed 
 extremely in the style of a real French contre- 
 danse. But not this only has been so con- 
 G 5
 
 130 AOSSIKI. 
 
 verted ; half of Rossini's operas are turned 
 into quadrilles ; nay even Mose in Egitto, a 
 sacred Oratorio ! Were it possible so to con- 
 vert Handel's, we should deem it a profanation. 
 But what shall we think of the judgement of 
 that composer who could set solemn words 
 to music so light and trivial as to allow of 
 it ? I have often heard it seriously remarked, 
 that his operas sound best when thus per- 
 formed without the voices. Strange praise 
 for vocal music, which I have ever considered 
 as the finest vehicle for feeling and for pas- 
 sion, and as giving greater expression to 
 words than can otherwise be conveyed ; there- 
 fore when it is really good they must be in- 
 separably united. At the same time I must 
 allow there is truth in the remark, for Ros- 
 sini gives so much importance to the or- 
 chestra, and so labours his accompaniments, 
 that the vocal part is really often the least 
 prominent, and overwhelmed, not supported.* 
 
 * Many songs of the old masters would be very in- 
 differently sung by modern performers, not on account
 
 11OSSIJU. 
 
 The serious operas of Mose in Egitto (per- 
 formed here under the name of Pietro 1'Ere- 
 mita) and Otello, are much better than the 
 former which I have named, and contain 
 some very fine pieces : and I must exempt 
 from all censure his Turco in Italia, which is 
 a light, lively, and thoroughly pleasant opera 
 buffa. The Barbiere di Seviglia, La Cene- 
 rentola, L'ltaliana in Algieri, and Elisabetta, 
 have been also performed, the first with suc- 
 cess, the others with little or none.* 
 
 of their difficulty, but their apparent facility. Com- 
 posers, when writing for a first-rate singer, noted down 
 merely a simple tema with the slightest possible accom- 
 paniment, which, if sung as written, would be cold, 
 bald, and insipid. It was left to the singer to fill up 
 the outline, to give it the light and shade, and all its 
 grace and expression ; which required not only a 
 thorough knowledge of music, but the greatest taste 
 and judgement. No one ever worked on such a canvas 
 like Pacchierotti. 
 
 * Since the above was written, many more of Ros- 
 sini's operas have been performed, La Donna del Lago, 
 Ricciardo, which have been liked, and another that
 
 132 MOZART. 
 
 So entirely did Rossini engross the stage, 
 that the operas of no other master were ever 
 to be heard, with the exception of those of 
 Mozart, and of his, only Don Giovanni and 
 Le Nozze di Figaro were often repeated. La 
 Clemenza di Tito was occasionally revived, 
 but met with less success. It is singular 
 how every other composer, past and present, 
 were totally put aside, and those two alone 
 named or thought of. That Mozart should be 
 admired is not at all so, for he was undoubt- 
 edly one of the greatest of masters : it is 
 only strange that though he has been so long 
 dead, his works should have been but so 
 lately known and performed in this country. 
 Of their beauty, their originality, their infi- 
 nite variety, and scientific excellence there 
 
 failed totally. Having been unable to go to the theatre 
 I have heard none of them ; from the opera books I 
 find there is not one song in Ricciardo, and scarcely any 
 in La Donna del Lago. Semiramide has perhaps been 
 the greatest favourite. I once heard it, and shall 
 mention it in its place.
 
 MOZART. 133 
 
 can be but one opinion, though by some his 
 style may be thought not quite so agreeable 
 as that of some of the excellent Italian mas- 
 ters whom I have had occasion to name. It 
 may at times have a little too much of the 
 German manner, as many of his operas were 
 composed for his native language and German 
 singers. But his genius was not only original, 
 it was inexhaustible ; his productions are full 
 of diversity, and all possessed of intrinsic 
 merit. The frippery and meretricious style 
 of modern music is to the ear like tinsel to 
 the eye, brilliant, striking, for a moment 
 perhaps captivating, but it will, be transitory, 
 and speedily lost in the fluctuations of taste ; 
 and I think I may venture to predict, that 
 Rossini will not long have ceased to write 
 before he will cease to be remembered, and 
 that his music will be thrown aside as that 
 of so many of his predecessors and superiors 
 already is ; while the name of Mozart, with 
 those of his two great countrymen Handel 
 and Haydn, will live for ever, and his compo-
 
 134 GRASSIKI. 
 
 sitions, like theirs, descend as sterling gold 
 to posterity, and be listened to with delight 
 in all times and in all places, so long as' the 
 natural taste and feeling for music, common 
 to man in all ages and situations, and the 
 love of its true genuine beauties, shall continue 
 to exist. 
 
 But it is time to return, after too long a 
 digression, to my original purpose, and to 
 take a brief notice of the singers who ap- 
 peared at our Opera during this period. 
 
 After Catalani left this country, the opera 
 gradually declined, and fell at last to such a 
 state of degradation as to cease to be fashion- 
 able, and be nearly deserted. 
 
 Grassini returned in 1814, but she was no 
 longer what she had been. Her beauty 
 indeed was little diminished, but her acting 
 was more languid and ineffective, at least it 
 appeared so after the more energetic and 
 animated manner of her predecessor. Her 
 voice too was changed ; she had endeavoured 
 to regain its upper part, but in so doing she had
 
 FODOB. 135 
 
 lost the lower, and instead of a mellow con- 
 tralto, it was become a hoarse soprano. Still, 
 however, she displayed much of her former 
 grace and style, particularly in her favourite 
 part of Orazia, and in a new opera of Didone 
 by Paer. But on the whole her performance 
 did not satisfy the public, and after one season 
 she departed unregretted. At the same time 
 Tramezzani also went away. 
 
 The next year is a blank in operatical his- 
 tory. So wretchedly bad were all the male 
 performers that even their names cannot be 
 remembered. The first woman, Sessi, was 
 alone somewhat of a singer, with whom, 
 though it was difficult to find fault, it was 
 equally so to be pleased. 
 
 The following season produced another 
 total change, yet not much for the better. 
 The company was a medley of all nations ; 
 of Russian, Spanish, French, English, with 
 a very small intermixture of Italians. It is 
 true Fodor was an improvement upon Sessi, 
 but she never greatly pleased me. Her voice
 
 136 FODOH. 
 
 had sweetness, but she injured and confined 
 it by not opening her mouth, and singing 
 through her teeth. Her style was not truly 
 Italian, nor could it be expected, for she is a 
 Russian married to a Frenchman, had lived 
 much in Paris, and never been in Italy : she 
 is now gone thither and may improve. Yet 
 she was much liked by many, and became 
 almost a favourite after her performance ot 
 Zerlina in Don Giovanni, which opera was 
 brought out for the first time in the second 
 year of her engagement, when a very con- 
 siderable augmentation was made to the 
 strength of the company ; to which were then 
 added Camporese (of whom I shall speak 
 more fully) and Crevelli, an excellent tenor 
 of the old school, with a sonorous mellow 
 voice, and a really good method of singing : 
 but he was reckoned dull, met with no ap- 
 plause, and staid only one year. A new buffo, 
 Ambrogetti, was much more successful. He 
 was indeed deservedly liked, for he was an 
 excellent actor, with a natural vein of humour
 
 BELLOC. 137 
 
 peculiarly his own ; but he was sometimes 
 put into characters unsuited to his turn, to 
 his want of voice, and deficiency as a singer. 
 Yet he acted extremely well, and in a manner 
 too horribly true to nature, the part of the 
 mad father in Pacr's beautiful opera of Ag- 
 nese,* while that of the daughter was delight- 
 fully sung by Camporese. These additional 
 performers, together with the production of 
 Don Giovanni, and of the Nozze di Figaro, 
 were very attractive, and again filled the 
 theatre. Camporese, however, was suffered 
 to go at the end of the season, to the prospe- 
 rity of which she had so much contributed, 
 and Fodor remained sole first woman for 
 another year. 
 
 The opera again declined during that and 
 two following seasons, when Fodor was suc- 
 ceeded by Belloc, f who, though a good 
 
 * This drama is taken from Mrs. Opie's tale of the 
 Father and Daughter. 
 
 f Her name was here Italianized into Bellocchi, but 
 she is married to a Frenchman named Belloc.
 
 138 CAMPOKESE. 
 
 singer and actress in comic operas, was not 
 pleasing from the coarseness of her voice and 
 plainness of her person. She was rather 
 like Storace, possessing most of her defects 
 without all her excellencies. She however 
 surprised the public towards the close of her 
 engagement by her excellent performance of 
 the part of Tancredi, for which nothing could 
 be less suited than her figure ; but the music 
 was well adapted to her voice, and her sing- 
 ing it was really so good as to make her 
 appearance of no consequence. 
 
 The company for the three following 
 seasons was throughout respectable, though 
 without any very prominent talent among 
 the male performers. Among them however 
 may be distinguished the first tenor Curioni, 
 who has a very sweet and pleasing voice, 
 and is an agreeable though not a great singer ; 
 and Zucchelli, who possesses the most soft, 
 mellow, and flexible bass voice I almost ever 
 heard. But it was headed by two excellent 
 first women, Ronzi de Begnis, and Camporese.
 
 CAMPORESE. 139 
 
 The former, with a pretty face and pleasing 
 countenance, has a voice of great sweetness 
 and flexibility, which she manages with con- 
 siderable skill and taste, is a good singer, 
 and a good actress, both in serious and comic 
 parts. But she decidedly excels most in the 
 latter. Indeed I have rarely seen a better 
 bufFa. She made her first appearance in II 
 Turco in Italia, and acted in it delightfully. 
 Her husband, De Begnis, is an excellent comic 
 actor. 
 
 Camporese's talent is of a higher order. 
 Born of respectable parents, and married to 
 a member of the family of Giustiniani, she 
 originally cultivated music only as an accom- 
 plishment, yet made herself complete mistress 
 of its science. Subsequent events occasioned 
 her converting what had been her amusement 
 into her profession, and she became a public 
 singer for concerts only. 
 
 It was not till her first arrival in this coun- 
 try that she ever appeared on the stage, 
 which she soon trod with all the ease of an
 
 140 CAMPORESE. 
 
 experienced actress, and became immediately 
 a very good theatrical performer, yet still 
 retaining on the stage the genteel, lady-like 
 manners for which she is distinguished in 
 private society. She performed first in an 
 opera called Penelope, which was not much 
 admired, nor acted very often ; consequently 
 she did not make so favourable an impression 
 as might have been expected from her talents ; 
 but every succeeding one developed them 
 more and more, and added to her reputation. 
 Amongst her happiest efforts must be 
 ranked the beautiful and affecting part of 
 Agnese before alluded to. That opera, which 
 is of the semi-seria kind, is one of Paer's most 
 charming compositions. She excels greatly 
 in Desdemona, and in the opera of Mose ; in 
 the latter Ronzi took a principal character. 
 They likewise sung together in Don Giovanni 
 and Le Nozze di Figaro, Camporese per- 
 forming Zerlina and Susanna, Ronzi Donna 
 Anna and the Countess Almaviva ; but in 
 both these instances they should have changed
 
 CAMPORESE. 141 
 
 characters ; for as Ronzi, by her figure, 
 countenance, and sprightliness, is best fitted 
 for comic parts, so are Camporese's whole 
 style and demeanour most adapted for serious. 
 In her first year she acted Donna Anna ad- 
 mirably to Fodor's Zerlina, but afterwards 
 assumed the latter from the greater popularity 
 of its many light and pleasing airs. In La 
 Clemenza di Tito she performed the first 
 man's part, Sesto, and from its being written 
 for a soprano, and therefore suited to her 
 voice, gave more effect to it than either 
 Braham or Tramezzani. She first acted that 
 opera with Fodor, afterwards with Madame 
 Albert, first singer of the grand opera at 
 Paris, who chanced to be in England with 
 her husband, the principal dancer. It was a 
 curious novelty to hear a French singer in our 
 Italian theatre, where, though she did not 
 offend, she gave but little pleasure. But she 
 was a good musician, had great powers, and 
 of course a thorough knowledge of the stage, 
 on which her manner was easy and dignified.
 
 CAMPORESE. 
 
 Of Camporese's voice, and manner of singing, 
 it may be said, that the former, if not of the 
 very finest quality, is extremely agreeable, of 
 sufficient power and compass, and capable of 
 considerable agility : and of the latter, that 
 it is regulated by good taste, and is full of 
 feeling and expression. In short, she is 
 worthy of the better days of the art, and, 
 when she first came to this country, had in 
 no degree adopted the modern style. She 
 then sung only the compositions of the best 
 masters, and her execution of them was 
 faultless. On her return, from having in the 
 interval sung to Italian audiences the more 
 modern music, her manner had undergone 
 a perceptible alteration ; so infectious is taste, 
 and so easily, perhaps unconsciously, is it 
 vitiated by bad example, either in singers or 
 composers. She however yielded as little 
 as possible to the prevailing style, and, even 
 with this slight reservation, still was, in my 
 opinion, much the best singer of her time, 
 and the only one that ever at all brought
 
 CAMPORESE. 143 
 
 back to my recollection, or in any degree 
 resembled her to whom I shall always think 
 every other must yield, the unique, the in- 
 comparable Banti.* 
 
 * On leaving England she retired from the stage, 
 and lived at Rome under her proper name of Madame 
 Giustiniani, enjoying ease and respectability, exercising 
 her unimpaired talents for the pleasure of her friends, 
 and never singing out of her own house. But, after 
 a few years, some pecuniary embarrassments induced 
 her to resume her profession. She returned to Eng- 
 land, and sung at concerts, there being no vacancy at 
 the opera. Her powers (as I was told, for I did not 
 hear her) were somewhat diminished, and she met 
 but with little success. She staid only a short time.
 
 144 ENGLISH MUSIC. 
 
 SECTION VIII. 
 
 Observations on English music Sacred music Glees 
 Mrs. Sheridan Mrs. Bates the Misses Abrams. 
 
 HAVING thus completed the account of the 
 Italian Opera from my earliest recollection 
 for fifty years, I will, before I conclude, 
 say something of our national music, and of 
 a few English performers, but my remarks 
 shall be very short. 
 
 Our theatrical music must be acknow- 
 ledged by all candid judges to be greatly 
 inferior to the Italian, although of late years 
 it has improved, and if it continues to do so, 
 and the latter still to decline, the difference 
 will be, and indeed it already is, much less 
 striking than it was within -my remembrance. 
 But I shall not add any thing on that subject
 
 SACRED MUSIC. 1.45 
 
 to the casual notices that have been taken of 
 our stage. 
 
 In another style I think we greatly excel, 
 namely, in our church music. I have always 
 been very fond of that of our cathedrals, 
 which is truly solemn and elevating, and 
 better suited to aid devotion than any other 
 that I know. That of the Italians is in 
 general too light and operatic (I except that 
 of the Pope's chapel), and in all Roman 
 Catholic countries the introduction of an 
 orchestra of stringed instruments greatly takes 
 away from the solemnity of the performance. 
 The full swelling tones of the sublime organ 
 should alone be heard, as in our's. With that 
 sole accompaniment, our English services, 
 well performed, are to me of the finest de- 
 scription. Sacred music in general has been 
 much esteemed and cultivated since the in- 
 troduction of Oratorios by Handel, and has 
 been executed with great excellence by per- 
 formers of our own country, among whom 
 Mr. Harrison was long a favourite, and
 
 146 GLEES. 
 
 justly ; for he had one of the softest, most 
 mellow tenor voices I ever heard, and a chaste 
 style of singing : his only fault was want of 
 energy and animation, which made his per- 
 formance rather dull and heavy. Mr. Bartle- 
 man, who is fresh in every one's recollection, 
 was equally admired for his fine bass, or 
 baritone voice, and for his masterly manner 
 of singing. 
 
 There is another species of composition 
 more peculiarly our own, and which I should 
 call our only national music ; I mean our 
 glees, which differ from any thing I ever 
 heard, and in their style cannot be excelled. 
 Their harmony is so full, rich, and melodious, 
 when executed, as they long were, by the 
 Messrs. Knyvett, and the other performers 
 accustomed to sing them together, that they 
 completely gratify the ear, and he must be 
 indeed fastidious, or greatly prejudiced, who 
 cannot receive pleasure from their perform- 
 ance. I do not know of any female singer 
 at present who has exclusively devoted herself
 
 GLEES. 147 
 
 to this kind of music, but there have been 
 several ; and none who do not keep solely 
 to it can execute them with equal propriety. 
 If the leading voice permits itself to wander 
 from the strict melody of the air, in order 
 to show graces or agility, as is too frequently 
 the case when singers accustomed to other 
 styles are called in, the effect is injured 
 instead of being improved, as the great beauty 
 of those compositions is derived from the 
 complete union and equality of all the voices, 
 none preponderating, and from the simplicity 
 of their execution. They then produce the 
 effect of full chords struck on a finely toned 
 organ.* 
 
 But I have deviated widely from my chief 
 purpose in entering at all upon this subject, 
 which was to mention two great performers 
 whom having once heard it is impossible 
 not to remember, or, remembering, to pass 
 over in silence. As my recollections extend 
 
 * This species of music has of late years gone out of 
 fashion, but seems to be reviving in the production of 
 old madrigals, and composing of new.
 
 148 MBS. SHERIDAN. 
 
 to half a century, I am old enough to have 
 heard, as amateurs, those most delightful 
 singers of this, or of any other country, 
 Mrs. Sheridan and Mrs. Bates, who as Miss 
 Linley and Miss Harrop were at the top of 
 their profession, which they both quitted on 
 marrying, while in the prime of life, and at 
 the height of their reputation. Mrs. Sheridan 
 to an angelic face (of the peculiar expression 
 of which those who never saw her may 
 form some idea from Sir Joshua's Reynolds' 
 beautiful portrait of her as St. Cecilia)* 
 added an angelic voice, of so sweet and 
 delightful a tone and quality that it went at 
 once to the heart ; and, combined with her 
 touching expression, produced an effect almost 
 heavenly, and moved every hearer. I heard 
 her more than once when I was very young, 
 and the recollection has never been effaced. 
 
 Of Mrs. Bates I am much better able to 
 speak, having frequently met her in private 
 
 * This portrait is now at Bowood, the seat of the 
 Marquess of Lansdowne.
 
 MRS. BATES. 149 
 
 society, and heard her sing repeatedly. Her 
 voice was perhaps not so celestial as Mrs. 
 Sheridan's but was nevertheless one of the 
 finest quality; full, rich, and commanding, 
 of great compass, flexibility, and power. In 
 her youth she had learnt of Sacchini, and 
 had she continued his scholar, would have 
 become an excellent singer in the Italian 
 school ; but having attracted the admiration 
 of Mr. Joah Bates, he took her from that 
 master, and finished her musical education 
 himself. He was not a professor of music, 
 but most deeply skilled in its science, and a 
 masterly player on the organ. His taste was 
 exclusively for Handel, and it was he who 
 first imagined and arranged the marvellous 
 performances in Westminster Abbey, which 
 nobody but himself could have conducted to 
 such perfection.* Of course he imparted his 
 taste to Miss Harrop, and she from that time 
 
 * It was a subject of regret that Mrs. Bates was not 
 permitted to sing at them; great as Mara was, her 
 performance would have been still finer.
 
 150 MRS. BATES. 
 
 devoted herself almost wholly to Handel's 
 music, in which she not only most excelled, 
 but never was surpassed. I have however 
 heard her sing in both styles, and execute 
 extremely well fine theatrical songs of her 
 first master's composition. I have also known 
 her to go out upon a staircase, and there sing 
 without accompaniment, the simple ballad, 
 " Shepherds, I have lost my love," making 
 the whole house ring with the volume of her 
 voice, which came over the ear with a most 
 beautiful and almost magical effect. 
 
 No subsequent singers have ever come up 
 to these two, nor can any of the present day, 
 however much they may be admired, be put 
 into competition with them. Of all other 
 English singers, Mrs. Billington alone was 
 as good, but her voice was decidedly inferior 
 to their's, and her style so different, that she 
 cannot fairly be compared with them, but 
 must be reckoned more as an Italian than an 
 English singer, and as such has received all the 
 notice and praise to which she is justly entitled.
 
 MISSES ABRAMS. 151 
 
 There is but one name more that I shall 
 mention, and that very slightly ; but when 
 excellence in music is the subject, it cannot 
 be omitted. It is that of the Misses Abrams, 
 who were unrivalled in their line, and whose 
 united voices formed the very perfection of 
 harmony. But of them I shall not permit 
 myself to speak ; private friendship might 
 make my praise appear too partial. I restrain 
 myself with the less regret from saying what 
 I feel, because their talents (still fresh in the 
 remembrance of many) and their merits of 
 every kind are too widely known to need 
 my panegyric, and too universally acknow- 
 ledged to admit of the possibility of con- 
 tradiction.* 
 
 * Of the three sisters one only survives ; Miss 
 Theodosia, now Mrs. Garrow, whose voice was the 
 most beautiful contralto I ever heard. They all left 
 off public singing many years ago.
 
 152 COLBRUX. 
 
 >mBflj wv 
 
 19 
 
 SECTION IX. 
 
 18241828. 
 
 Colbrun Catalan! Pasta Caradori Velluti 
 Sontag General Remarks and Retrospection. 
 
 WITH the last Section these Reminiscences 
 originally did, and perhaps ought still to end : 
 for after this period I was for a long time 
 unable to go at all to the theatre. But as the 
 following seasons were eventful, I subjoin an 
 account of them chiefly from report. 
 
 The season of 1 821 produced an unusually 
 large company of singers, no less than six 
 prima donnas having performed during the 
 course of it : namely, Madame Colbrun Ros- 
 sini, Catalani, Rcnzi de Begnis, Pasta, Vestris, 
 and Caradori. The first of these, as Colbrun, 
 
 *c. 
 
 was long esteemed the finest in Italy, both
 
 COLBRUN. 153 
 
 as singer and actress. She is now married to 
 Rossini, with whom she came hither, both 
 being engaged on high terms, she to sing, 
 and he to compose ; but both disappointed 
 expectation. She is entirely passee, and her 
 powers are so diminished that she is unable 
 to produce any effect on the stage, where she 
 gave little satisfaction : but her taste was 
 acknowledged to be excellent, and she was 
 much admired in private concerts. She ap- 
 peared in her husband's opera of Zelmira, 
 which was not liked. It contains, as I was 
 told, some of his noisiest pieces, of which I 
 subsequently heard one at a concert ; it was 
 stunning. Rossini himself was so much en- 
 gaged in pleasures and convivial meetings, 
 as well as singing with great profit in private, 
 that he neglected his engagement with the 
 theatre, and did not complete the opera he 
 was to have composed. He paid forfeit for 
 his failure ; but nevertheless he and his 
 wife realized a large sum before they left the 
 country. 
 
 u 5
 
 154 CATALANI. 
 
 Catalani, who had come to England on a 
 journey of speculation, was not regularly en- 
 gaged, but only paid for occasional appear- 
 ances, and as her terms were more advanta- 
 geous to herself than to the manager, and 
 her attraction not great, they were very few. 
 She did not perform any of her fine tragic 
 characters, but acted, five or six times only, 
 her favourite comic opera II Fanatico per la 
 Musica, in which she introduced some new 
 song every night. Her powers were said to 
 be undiminished, her taste unimproved. 
 
 Ronzi retained her former favour ; but 
 even she was soon eclipsed by the arrival of 
 Pasta, who had sung here before, as second 
 woman, in the year Camporese first came to 
 England. She was then a young and pro- 
 mising singer, but, though very pleasing, 
 was little noticed. This was fortunate for 
 her, as here she might have remained in me- 
 diocrity ; but returning to Italy she has there 
 so improved as to have become a capital per- 
 former, and is now at the very head of her
 
 VESTKIS. 155 
 
 profession. She will be spoken of more at 
 large hereafter. 
 
 The other two above named are but se- 
 cond-rate prima, though first-rate seconda 
 donnas. The versatility of Madame Vestris's 
 talent is well known, fitting her equally for 
 the Italian, French, and English stage. Her 
 first theatrical appearance was in Grassini's 
 part of Proserpina, which she acted in two 
 successive seasons with Sessi, and with 
 Fodor. She then gave promise of higher 
 excellence than she has attained, but still 
 she must be allowed to be a pleasing singer, 
 and a very good actress. Caradori is a nom 
 de theatre ; this amiable and interesting young 
 lady is of a good German family ; her name 
 was Mademoiselle Munk, and now is Mrs. 
 Allan ; but she retains, and is better known 
 by her theatrical appellation. I shall shortly 
 speak more of her.* The male singers of 
 
 * It may be observed as an odd coincidence that 
 Pasta, Vestris, and Caradori all have acted the Page in 
 Le Nozze di Figaro, and none more successfully than
 
 156 OPERA HOUSE. 
 
 this year were nearly the same as in the two 
 preceding. 
 
 With all this collection of talent, the sea- 
 son failed ; nor could it well be otherwise 
 from the enormous expense of so unnecessa- 
 rily numerous a company ; but other causes 
 contributed to its bad success. Soon after 
 its termination all the contents of the Opera- 
 house were advertised for sale, and it appeared 
 probable it had closed to open no more. In- 
 terminable disputes and litigation, misma- 
 nagement, and repeated losses, seemed to 
 threaten ruin to whomsoever should be bold 
 enough to undertake it ; but by some ar- 
 rangement the sale never took place, and the 
 same manager ventured to run the hazard of 
 renewing his lease. 
 
 If the last season ended unsuccessfully, that 
 
 the last, who by accident, not choice, made her debut 
 in that part; and it proved fortunate for her, as her 
 charming manner of performing it laid the foundation 
 of her subsequent favour.
 
 OPfcftA HOUSE. 157 
 
 m 
 
 of 1825 began in no very auspicious manner; 
 for when the theatre was about to open, an 
 alarm was raised that the house was insecure, 
 from one of the main walls having given 
 way. The licence was immediately sus- 
 pended till it should be examined, and sub- 
 stantially repaired, so as to remove every 
 suspicion of danger. For this purpose it was 
 found necessary to pull down and rebuild the 
 wall of one end, a work which was imme- 
 diately commenced. The manager engaged 
 temporarily the New Theatre Royal in the 
 Haymarket, which, though much larger than 
 that where the Opera had twice taken refuge, 
 was nevertheless much too small to accom- 
 modate the subscribers, and receive such 
 audiences as could afford any hope of profit 
 to the concern, for which a company had 
 been provided proportionate to the large 
 theatre. Comic operas were chiefly acted 
 there, in which Ronzi and Vestris were the 
 principal performers. Under these disad-
 
 158 GARCIA. 
 
 vantages passed a groat part of the season 
 with very moderate success. 
 
 At length the King's Theatre having been 
 repaired with incredible celerity, the Opera 
 removed home, and shortly after the great 
 favourite Pasta arrived for a limited number 
 of nights. During her stay the theatre pros- 
 pered exceedingly, crowded audiences attend- 
 ing it whenever she performed. About the 
 same time Konzi fell ill, and totally lost her 
 voice, so that she was obliged to throw up 
 her engagement and return to Italy. Madame 
 Vestris too having seceded from the Opera 
 to confine herself entirely to the English 
 stage, where she is so deservedly a favourite, 
 and Caradori unable for some time to per- 
 form, it became necessary, in order to repair 
 these losses, to engage a young singer, the 
 daughter of the tenor Garcia, who had sung 
 here for several seasons. She was as yet a 
 mere girl, and had never appeared on any 
 public stage : but from the first moment of 
 her appearance she showed evident talents
 
 GARCIA. 159 
 
 for it both as singer and actress. Her ex- 
 treme youth, her prettiness, her pleasing 
 voice, and sprightly easy action, as Rosina in 
 II Barbiere di Seviglia, in which part she 
 made her debut, gained her general favour ; 
 but she was too highly extolled, and injudi- 
 ciously put forward as a prima donna, when 
 she was only a very promising debutante, 
 who in time, by study and practice, would in 
 all probability, under the tuition of her father, 
 a good musician, but (to my ears at least) a 
 most disagreeable singer, rise to eminence in 
 her profession. But in the following year 
 she went with her whole family (all of whom, 
 old and young, are singers tant Ions que 
 mauvais) to establish an Italian opera in Ame- 
 rica, where, it is said, she is married, so that 
 she will probably never return to this country, 
 if to Europe.* 
 
 I have now to record an event which 
 
 * This young debutante is now the celebrated 
 Madame Malibran.
 
 160 VELLUTI. 
 
 excited great curiosity in the musical world, 
 and for a time was of considerable advantage 
 to the theatre, closing its season with great 
 eclat. This was the arrival of a male soprano 
 singer, the only one left on the Italian stage, 
 who has for many years, perhaps only from 
 having no rival in his line, been looked upon 
 as the best singer of his country. He came 
 to this with strong and numerous recom- 
 mendations, but under no engagement for 
 the Opera, and he had been here some time 
 before the manager dared to produce so novel 
 and extraordinary a performer. No singer 
 of this description had appeared here for a 
 quarter of a century, so that the greater part 
 of those who formerly were delighted with 
 Pacchierotti, Marchesi, &c. were now no 
 more, and a generation had sprung up who 
 had never heard a voice of the sort, and were 
 strongly prejudiced against it. His first 
 reception at concerts was far from favourable, 
 the scurrilous abuse lavished upon him before 
 he was heard, cruel and illiberal : and it was
 
 VELLUTI. 161 
 
 not till after long deliberation, much persua- 
 sion, and assurances of support, that the 
 manager ventured to engage him for the 
 remainder of the season. Even then, such 
 was the popular prejudice and general cry 
 raised against him, that unusual precautions 
 were deemed necessary to secure a somewhat 
 partial audience, and prevent his being driven 
 from the stage on his very first entry upon 
 it, which seemed to be a pre-determined 
 measure. At length the first appearance of 
 Signer Velluti was announced to take place, 
 on an unusual night, for his own benefit, 
 granted him, it was said, on account of the 
 great trouble he had taken (to use a theatri- 
 cal phrase) in getting up the new opera, 
 which indeed was true, for, as he has a per- 
 fect knowledge of the stage, he entirely 
 directed all the performances in which he took 
 a part. As he had brought me a letter of 
 introduction from a friend at Florence, and 
 my curiosity was a good deal raised from the 
 representation given to me of his talents, I
 
 162 VELLUTI. 
 
 was induced once more to enter a theatre, 
 and was present on that occasion. At the 
 moment when he was expected to appear, 
 the most profound silence reigned in one of 
 the most crowded audiences I ever saw, 
 broken on his advancing by loud applauses 
 of encouragement. The first note he uttered 
 gave a shock of surprize, almost of disgust, 
 to inexperienced ears, but his performance 
 was listened to with attention and great 
 applause throughout, with but few audible 
 expressions of disapprobation speedily sup- 
 pressed. The opera he had chosen for his 
 debut was II Crociato in Egitto, by a German 
 composer named Mayerbeer, till then totally 
 unknown in this country. The music was 
 quite of the new school, but not copied from 
 its founder Rossini : it was original, odd, 
 flighty, and might even be termed fantastic^ 
 but at times beautiful ; here and there most 
 delightful melodies and harmonies occurred, 
 but it was unequal. Solos were as rare as 
 in all the modern operas, but the numerous
 
 CARADOKI. 163 
 
 concerted pieces much shorter and far less 
 noisy than Rossini's, consisting chiefly -of 
 duets and terzettos with but few chorusses, 
 and no overwhelming accompaniments. In- 
 deed Mayerbeer has rather gone into the 
 contrary extreme, the instrumental parts 
 being frequently so slight as to be almost 
 meagre, while he has sought to produce new 
 and striking effects from the voices alone. 
 The first woman's part was filled by Caradori, 
 the only singer left who could undertake 
 it, Pasta's engagement having terminated, 
 and her performance gave great satisfaction. 
 Though from want of power she is not to be 
 ranked in the first line of prima donnas, it 
 may truly be said she is without a fault. 
 Her voice is sweet, but not strong, her know- 
 ledge of music very great, her taste and style 
 excellent, full of delicacy and expression. In 
 a room she is a perfect singer. Her genteel 
 and particularly modest manner, combined 
 with a very agreeable person and countenance, 
 render her a pleasing and interesting, though
 
 164 VELLUTI. 
 
 not a surprizing performer. The young 
 Garcia also appeared to advantage in this 
 opera. 
 
 To speak more minutely of Velluti. This 
 singer is no longer young, and his voice is in 
 decay. It seems to have had considerable 
 compass, but has failed (which is extraor- 
 dinary) in its middle tones, many of which 
 are harsh and grating to the ear. Some of 
 his upper notes are still exquisitely sweet, 
 and he frequently dwells on, swells, and 
 diminishes them with delightful effect. His 
 lower notes too are full and mellow, and he 
 displays considerable art in descending from 
 the one to the other by passages ingeniously 
 contrived to avoid those which he knows to 
 be defective. His manner is florid without 
 extravagance, his embellishments (many of 
 which were new to me) tasteful and neatly 
 executed. His general style is the grazioso, 
 with infinite delicacy and a great deal of 
 expression, but never rising to the grand, 
 simple, and dignified cantabile of the old
 
 VELLUTF. 165 
 
 school, still less to the least approach towards 
 the bravura. He evidently has no other, 
 therefore there is a great want of variety in 
 his performance, as well as a total deficiency 
 of force and spirit. Of the great singers 
 mentioned before, he most resembles Pacchie- 
 rotti, in one only, and that the lowest of his 
 styles, but cannot be compared to him in 
 excellence even in this. He is also somewhat 
 like him in figure, but far better looking ; in 
 his youth he was reckoned remarkably hand- 
 some. On the whole there is much to approve 
 and admire in his performance, and I can 
 readily believe that in his prime he was not 
 unworthy of the reputation he has attained 
 in Italy. Even here, under so many disad- 
 vantages, he produced considerable effect, 
 and overcame much of the prejudice raised 
 against him. To the old he brought back 
 some pleasing recollections ; others, to whom 
 his voice was new, became reconciled to it, 
 and sensible of his merits, whilst many de- 
 clared that to the last his tones gave them
 
 166 VELLUTI. 
 
 more pain than pleasure. However, either 
 from curiosity or real admiration, he drew 
 crowded audiences, and no opera but the 
 Crociato was performed to the end of the 
 season. 
 
 The next (of 1826) began also with the 
 same opera, but very differently performed.* 
 Caradori, though still belonging to the com- 
 pany, was unaccountably removed for the 
 purpose of introducing a new singer of the 
 name of Bonini, and Garcia's place was 
 filled by a performer below mediocrity. The 
 new first woman having frequently sung 
 with, and been taught by Velluti, was brought 
 over at his recommendation and desire. 
 She was not without merit, and it was not 
 easy to say what were her faults ; but it 
 was impossible she should please : neither 
 her voice nor her style had any peculiar 
 
 * Caradori produced for her benefit Spontini's 
 opera, La Vestale, which was much admired in Ger- 
 many, but did not succeed here.
 
 VELLUTI. 167 
 
 excellence or defects ; her person was small 
 and very plain, and she was no actress. She 
 was little attended to, and though never 
 calling down disapprobation, was never ap- 
 plauded. Velluti's favour sensibly declined, 
 and in his second opera, called Tebaldo e 
 Isolina, by Morlacchi, which he considers as 
 his chef-d'o3iivre, he was much less admired 
 than in the former. For his benefit this 
 year (which I also went to), he brought out 
 Aureliano in Palmira, one of the first compo- 
 sitions of Rossini, and the only one of his 
 operas in which he ever would sing. It is in 
 my opinion one of the best of that master, as 
 he had not yet, in his efforts at originality, 
 fallen into that wild unnatural style which 
 characterizes so many of his works. There 
 are in it many beautiful melodies, and but 
 little of the extravagant ornament and 
 cramped passages he subsequently delighted 
 to introduce. Those who are more conversant 
 with his compositions, and can remember 
 them (which I have professed I cannot)
 
 168 VELLUTI. 
 
 say that this opera has been a nursery 
 from whence he has drawn much for his 
 later productions, and that there is scarcely 
 one good motivo in it which he has not trans- 
 planted into some other. The first woman's 
 part was again filled by Bonini, a miserable 
 representative of the heroic Zenobia. But I 
 now discovered why Velluti preferred her to 
 any other performer. Pasta had returned to 
 England some time before for her usual short 
 engagement, but they never appeared in the 
 same opera. This was thought to be occa- 
 sioned by jealousy or rivalry in one or both : 
 Velluti however was in the right to decline 
 it. She would not only have overpowered 
 him with the strength and volume of her 
 voice, but her style is so different, often so 
 superior to his own, that they could never 
 have harmonized well : whereas Bonini, 
 trained by him, accustomed to sing with him, 
 and having acquired all his peculiar graces, 
 was exactly suited to him by equality of 
 power, and similarity of style : in the duettos
 
 PASTA. 169 
 
 accordingly nothing could be more perfect 
 than the union of their voices. 
 
 I was enabled to form this judgment and 
 comparison by having, at an earlier period 
 of the season been present at Pasta's benefit, 
 and witnessed her performance of Mayer's 
 celebrated opera of Medea. Having heard 
 her once before at a private concert, with, I 
 own, less pleasure than I had anticipated, I 
 had much curiosity to see her on the stage, 
 and there she fully answered my highest ex- 
 pectations. In a small room her voice was 
 too loud, and sometimes harsh ; her manner 
 too forcible and vehement : * but in the 
 
 * It may here be remarked that the modern music 
 spoils the singers for concerts, especially in private 
 houses. The constantly singing concerted pieces, 
 adapted only for the theatre, gives them the habit of 
 so forcing their voices that they know not how to 
 moderate them to the small space of an ordinary room. 
 Neither are noisy finales and such like pieces suited 
 to the place, or agreeable, without the orchestra and 
 without action. The ear is often absolutely pained by 
 I
 
 170 PASTA. 
 
 theatre all blemishes disappeared : she is 
 really a first-rate performer, both as singer 
 and actress, and that by mere dint of talent, 
 without any very pre-eminent natural quali- 
 fications ; for, though a pretty woman, her 
 figure is short and not graceful ; and her 
 voice, though powerful and extensive, is not 
 of the very finest quality, not free from de- 
 fects. No part could be more calculated to 
 display her powers than that of Medea, 
 which affords opportunities for the deepest 
 pathos, and the most energetic passion. In 
 both she was eminently successful, and her 
 
 their loudness. Add to this, that few singers can 
 venture upon pieces so difficult and intricate, without 
 having practised them together: so that the frequenters 
 of the opera hear again in concerts only the same 
 music they are perhaps satiated with at the theatre. 
 How different this from the time when Pacchierotti, 
 Mara, &c., could charm with an endless variety of the 
 most beautiful songs, as well as by the delicacy of their 
 execution of them.
 
 PASTA. 171 
 
 performance both surprized and delighted 
 me. None since Band's had equalled it, 
 and perhaps she even excelled her great pre- 
 decessor as an actress, though in quality and 
 sweetness of voice she infinitely falls short of 
 her. It would be unfair not to add that the 
 whole opera was well performed. Caradori 
 acted and sung charmingly, the tender, gentle 
 part of Creusa, and Curioni was animated 
 and effective in that of Jason. Even the 
 second tenor, Torri, who possesses a very 
 sweet, but feeble voice, filled very creditably 
 the part assigned to him. He has much 
 taste, and is a pleasing singer in a room. 
 
 Pasta's other principal characters are that 
 of Romeo, of Zingarelli ; Semiramide, of 
 Rossini ; and Tancredi, all of which she is 
 said to perform admirably. In the last, her 
 manner of singing Di tanti palpiti is much 
 better than that of any other performer of 
 the part : she sings it much slower, thereby 
 doing away, in a great degree, with its
 
 172 PASTA. 
 
 country-dance-like character.* She has also 
 appeared in Paesiello's Nina, but in that is 
 reported to have failed, making the character 
 rather imbecile than insane. The opera too 
 was mangled and curtailed into one act, and 
 even so thought too long and tiresome, so 
 entirely has taste changed, and the music of 
 one of the most delightful of all Italian mas- 
 ters gone out of fashion. 
 
 At the end of the season Pasta and Velluti 
 both left England ; the former with pressing 
 invitations to return, the latter probably never 
 to be again engaged at our Opera. But he 
 came again several seasons for a short time, 
 to sing at concerts, and teach music, having 
 opened an academy for that purpose. 
 
 * This seems to be the more proper, as the motive 
 is taken from a Latin Litany, which Rossini has not 
 scrupled to adopt as his own : his other favourite 
 cavatina, Di piacer mi halza il core, is a wild air sung 
 by the Sicilian peasants : so much for the originality of 
 his two most popular songs.
 
 6ENERAL REMARKS. 
 
 The next was ushered in by the announce- 
 ment of a most numerous company ; but of 
 the long list, comprehending names of great 
 note, scarcely any were engaged for the whole 
 season. Caradori opened it, but was soon 
 superseded by a Miss Fanny Ayton, who in 
 her turn yielded to a Signora Giacinta Toso. 
 The former of these, a young English woman 
 who has acted in Italy, is said to have some 
 merit, but an indifferent voice. The second 
 has the recommendation not only of a bril- 
 liant voice, but of extraordinary beauty : but 
 this was her first appearance on any stage, 
 and she is extremely young ; consequently 
 she cannot yet be a finished prima donna, 
 whatever promise of future excellence she 
 may hold out.* There came too a Signora 
 Brizzi, a very weak contralta ; and Brambilla, 
 another debutante, with a fine voice of the 
 same description. Madame Vestris was also 
 
 * She soon married Puzzi, the celebrated player on 
 the horn.
 
 174 GENERAL REMARKS 
 
 occasionally called in. Pasta came in the 
 spring as usual on a short engagement, and 
 of course set aside all the others, or reduced 
 them to seconda donnas. She performed for 
 her benefit this year, an opera of Coccia's, 
 called Maria Stuart, in which Madame Toso 
 Puzzi also sung, but it did not greatly please. 
 For Madame Puzzi's benefit, Didone, by Mer- 
 cadante, was produced, she acting JEneas, and 
 Pasta, Dido. This opera was a lamentable 
 mangling of Metastasio's beautiful drama. 
 Among the men, Zuchelli, so justly a fa- 
 vourite, remained only a short time, and was 
 replaced by Galli, another basso cantante of 
 eminence. Curioni was the only good per- 
 manent performer. 
 
 Such was the unsettled, fluctuating state of 
 an inefficient company ; such the lavish, ill- 
 judged expense of a management, which can 
 be productive of nothing but confusion. In 
 fact, there seldom is now a complete estab- 
 lished company, a new and most injudicious 
 custom having prevailed of late years of divid-
 
 AND RETROSPECTION. 175 
 
 ing the season into portions, one performer 
 coming for the early, another for the latter 
 part of it ; some for three months, others for 
 still shorter periods ; so that the public may 
 be deprived of their greatest favourite, and 
 of the most admired operas, in the height of 
 their popularity, and others substituted not 
 so well approved. If this be unfair to the 
 audiences, it is no less injurious to the 
 manager, who thereby is not only kept in 
 uncertainty, and may, by a non-arrival, be left 
 without any singers at all, but incurs a great 
 additional unnecessary expense. He an- 
 nounces six or seven prima donnas, of whom 
 the principal demand nearly as large a salary 
 for a short period as for a season, and the 
 rest are to be paid no inconsiderable sums 
 without the least benefit to the theatre.* 
 Two female singers of the first class, a serious 
 and a buffa, are all that are necessary, with a 
 
 * Pasta receives for three months double the salary 
 Banti ever had for the whole season.
 
 176 GENEKAL REMARKS 
 
 secondary capable of taking a leading part, 
 or acting as substitute if required. More are 
 positively an evil, and only embarrass the 
 concern. It is impossible to employ them 
 all advantageously, each will want to have 
 her own opera, there being very few indeed 
 in which there are two principal female 
 characters ; and from their contending claims, 
 difficulties, disputes, and cabals, inevitably 
 arise. Whilst enormous expense is thus 
 lavished in superfluities, a mean economy pre- 
 vails in all the inferior departments, with 
 regard to secondary singers, the chorus and 
 orchestra : the scenery, decorations, and ward- 
 robe, are in every respect unworthy of the 
 largest theatre in the country. The ballets 
 too have latterly been of a very inferior 
 description, scarcely above mediocrity. Such 
 are the consequences of a bad system of 
 government, and of the want of a manager 
 conversant with the Italian stage, a good 
 judge of music and of singers, acquainted 
 with foreign languages and foreign usages,
 
 AND RETROSPECTION. 177 
 
 of liberal ideas, not sparing of expense, but 
 judicious in the application of it ; knowing 
 what is right, and firm in exercising his 
 authority to enforce it : in short, one who can 
 act for himself, and not be dependent on the 
 ignorance or bad faith of subordinate agents. 
 Such a one only can carry on the business of 
 the theatre with success, and give to the 
 English public a really good Italian opera. 
 
 While such is the mismanagement of affairs 
 behind the curtain, those before it are on 
 a no less improper footing. This will clearly 
 appear, from a comparison of what the opera 
 formerly was with what it is now. It will 
 scarcely be credited by those who are not 
 old enough to remember it, that at the period 
 when these Reminiscences commence, and for 
 many years subsequent to it, the price of 
 a subscription to a box for fifty representa- 
 tions was twenty guineas a seat, so that there 
 was a positive saving of five guineas on the 
 season to every subscriber ; and that too 
 
 when the theatre was differently constructed, 
 i 5
 
 178 GENERAL REMARKS 
 
 and the private boxes were very few in num- 
 ber, not exceeding in all thirty-six, eighteen, 
 ranged in three rows, on each side of the 
 house ; * the front being then occupied by 
 open public boxes (or amphitheatre as it is 
 called in French Theatres) communicating 
 with the pit. Both of these were filled ex- 
 clusively with the highest classes of society, 
 all, without exception, in the full dress then 
 universally worn. The audiences thus as- 
 sembled were considered as indisputably pre- 
 senting a finer spectacle than any other theatre 
 in Europe, and absolutely astonished the 
 foreign performers, to whom such a sight was 
 entirely new. At the end of the performance 
 the company of the pit and boxes repaired to 
 
 * The boxes were then much larger and more com- 
 modious than they are now, and could contain with 
 ease more than their allotted number of subscribers: 
 far different from the miserable pigeon-holes of the pre- 
 sent theatre, into which six persons can hardly be 
 squeezed, of whom, in most situations, two thirds can 
 never see the stage.
 
 AND RETROSPECTION. 179 
 
 the coffee-room, which was then the best 
 assembly in London, private ones being rarely 
 given on opera nights, and all the first society 
 was regularly to be seen there. Over the 
 front box was the five shilling gallery ; then 
 resorted to by respectable persons not in full 
 dress : and above that an upper gallery, to 
 which the admission was three shillings. 
 Subsequently the house was encircled by pri- 
 vate boxes, yet still the prices remained the 
 same, and the pit preserved its respectability 
 and even grandeur till the old house was 
 burnt down, in 1789. After its rebuilding, the 
 subscription was raised to twenty-five guineas, 
 and subsequently to thirty, but then the num- 
 ber of representations was increased to sixty, 
 so that the admission never exceeded the 
 usual pit price of half a guinea. Thus it con- 
 tinued the whole time that I was a subscriber 
 to the opera. It was not till the second year 
 of Catalani's engagement, when she more than 
 doubled her demands, and obtained a salary 
 wholly unprecedented, that the subscription
 
 GENERAL KEMARKS 
 
 for a whole box was at once raised from one 
 hundred and eighty to three hundred guineas* 
 Thus has she permanently injured the esta- 
 blishment ; for the price once raised, has 
 never been lowered, or at most in a very 
 trifling degree ; and it is become quite im- 
 possible for persons of moderate incomes to 
 afford so unreasonable a sum for a mere 
 entertainment. Hence has arisen the custom 
 of halving and sub-dividing the subscriptions, 
 so that very few persons have now the sole 
 ownership of a box. Hence too, that of 
 letting them for the night, and of selling even 
 single tickets when not used by the proprietor. 
 The evil of this practice is evident. Formerly 
 every lady possessing an opera box considered 
 it as much her home as her house, and was as 
 sure to be found there, few missing any of the 
 
 * In her first year Catalan! had the same salary as 
 Mrs. Billington, 2000 guineas (500 more than was paid 
 to Banti). I heard her say that price was ridiculously 
 low, and that to retain her, " ci vogliono molle rnila lin- 
 sterline" She demanded, and obtained five thousand.
 
 AXD RETROSPECTION. 181 
 
 performances. If prevented from going, the 
 loan of her box, and the gratuitous use of the 
 tickets was a favour always cheerfully offered 
 and thankfully received as a matter of course, 
 without any idea of payment. Then too it 
 was a favour to ask gentlemen to belong to a 
 box, when subscribing to one was actually 
 advantageous. Now, no lady can propose to 
 them to give her more than double the price 
 of the admission at the door, so that having 
 paid so exorbitantly, every one is glad to be 
 reimbursed a part at least of the great expense 
 which she must often support alone. Boxes 
 and tickets therefore are no longer given, they 
 are let for what can be got ; for which traffic 
 the circulating libraries afford an easy accom- 
 modation. Many too which are not taken 
 for the season are disposed of in the same 
 manner, and are almost put up to auction, 
 their price varying from three to eight or 
 even ten guineas, according to the perform- 
 ance of the evening, and other accidental
 
 182 GENERAL REMARKS 
 
 circumstances.* I have known an instance 
 of a box being asked for in the morning for a 
 particular opera, but not taken on account 
 of the high price demanded : in the afternoon 
 of the same day the same box was offered for 
 half the sum, and then again rejected, from 
 the suspicious appearance of the tender. The 
 next morning the reason was discovered ; the 
 opera had been changed. This artifice requires 
 no comment. In no other theatre in any 
 country was such uncertainty of prices ever 
 heard of: they every where are, and ought to 
 be, fixed and invariable. 
 
 While the boxes are thus let at prices so 
 much too high, admissions to the pit are to 
 be purchased beneath their proper value. 
 
 * Even the performers who have benefits now adver- 
 tise what sum they will condescend to take for the boxes 
 in each tier. The invariable rule formerly was half a 
 guinea each person : they could demand no more : all 
 beyond that sum was a gratuity, generally given to 
 favourite performers.
 
 AND RETROSPECTION. 183 
 
 Half a guinea has at all times been the esta- 
 blished price for that part of the house ; but 
 by the convenient accommodation before 
 alluded to they are now to be bought for 
 inferior sums nightly, and if taken for the 
 whole season, for not much more than half 
 what it would cost to pay the entrance money 
 at the door. This is as injurious and unfair 
 to the proprietors of the theatre as the box 
 system is to the frequenters of it. Besides 
 these contrivances for filling the theatre, the 
 manager has recourse to issuing orders of 
 free admission (varying in number according 
 to circumstances) that the benches may be 
 occupied on unattractive nights : boxes even 
 are frequently given away, or let for trifling 
 sums, to create the delusive appearance of a 
 crowded house, when in fact the money ac- 
 tually received is barely sufficient to cover the 
 evening's expense. 
 
 From all these causes the whole style of 
 the Opera House is totally changed, its audi- 
 ences are of a different description, its comfort
 
 184 GENEBAL REMARKS 
 
 entirely lost. The pit has long ceased to be 
 the resort of ladies of fashion, and latterly, by 
 the innovations introduced, is no longer agree- 
 able to the former male frequenters of it.* 
 Those who compose the best part of the 
 audience, and who really pay the fair price, 
 coming late to the theatre, find all the seats 
 occupied by the holders of orders and of 
 cheap admissions, while the boxes, being fre- 
 quently filled by occasional hirers of them, 
 afford no retreat to those who would visit 
 the friends to whom they properly belong. f 
 This is an abuse which the manager should 
 rectify for his own sake ; for that of the sub- 
 scribers the rent of the boxes ought to be 
 
 * It has been improved since by parting off' the 
 front rows into single seats, called stalls, which may be 
 hired by the night, or for a longer period. 
 
 f Most improper company is sometimes to be seen 
 even in the principal tiers, and tickets bearing the 
 names of ladies of the highest class have been presented 
 by those of the lowest, such as used to be admitted 
 only to the hindmost rows of the gallery.
 
 AND RETROSPECTION. 185 
 
 lowered, if not to their original price, which 
 may now be impossible, at least to one far 
 beneath what is still demanded, though the 
 first cause for raising it has long ceased. 
 This might be done, if the establishment 
 were judiciously managed, and its expenses 
 reduced within reasonable bounds ; especially 
 as the term of all the boxes which were pri- 
 vate property (originally assigned to the 
 lenders of money for rebuilding the theatre) 
 is now expired, and they are become that of 
 the manager, by which a very large addition 
 is made to the amount of the subscription. 
 The only plea that can be adduced for not 
 doing so, must be, the pecuniary embarrass- 
 ments in which former managers have plunged 
 the concern, the vast debt yet unpaid, and 
 the endless law suits in which its affairs are 
 still involved. To these difficulties it is 
 almost hopeless to expect that an effectual 
 remedy will be found, or that the encum- 
 brances will ever be entirely shaken off. 
 Certainly not as the concern is at present
 
 186 GENERAL EEMAUKS, &C. 
 
 conducted. The whole system is radically 
 bad ; and nothing can restore the Opera in 
 this country to its former respectable and 
 agreeable footing, or the performances to that 
 excellence which a public paying so dearly 
 has a right to expect, but a total reformation, 
 an entire change of proprietors, of managers, 
 of all parties connected with the theatre, I 
 had almost said, hampered and embarrassed 
 as it is, of the theatre itself. 
 
 The season of 1827 finished, as predicted, 
 unsuccessfully, and the shutting up of the 
 theatre entirely seemed to be the probable 
 consequence. But out of evil good has 
 arisen ; and the changes above alluded to have 
 in part taken place. The Opera has begun 
 this year under better auspices and with better 
 prospects. There is a tolerably efficient com- 
 pany of singers, with Pasta permanently at its 
 head : there is also a good set of dancers, and 
 (above all the most important) there is a new ma- 
 nager, much more likely to conduct the concern 
 with judgment, and, consequently, with success.
 
 SONTAG. 187 
 
 Some time after the season had commenced, 
 and after this account had been completed, the 
 greatest curiosity and a most unusual sensation 
 have been excited by the arrival of the cele- 
 brated German singer, Mademoiselle Sontag, 
 whose fame had long since reached this coun- 
 try, and the most extravagant eulogiums had 
 prepared us to see not only the finest per- 
 former that had yet appeared, both as singer 
 and actress, but also one of the most beautiful 
 of women. To say that she has entirely an- 
 swered to this exaggerated description would 
 be flattery as unfair as the praises have been 
 injudicious. In consequence of her high re- 
 putation, she was received on her debut, in 
 the part of Rosina in the Barbiere di Seviglia, 
 with enthusiastic applause, and crowded au- 
 diences have attended every night of her 
 performance. Sharing with the public the 
 eagerness to see and hear so great a prodigy, 
 I again, after an interval of two years, went to 
 the Opera, and saw her in the part of Donna 
 Anna, in Don Giovanni. But I had previously
 
 188 SONTAG. 
 
 heard her at a public concert, and have since 
 at a private one : as she gave me more 
 pleasure on both those occasions than on the 
 stage, my opinion shall be given as formed 
 from those specimens rather than the other. 
 
 Mademoiselle Sontag, who is a very young, 
 and certainly a pretty woman (from counte- 
 nance and complexion rather than features), 
 though far from being so transcendently 
 handsome as represented, possesses a voice 
 of great extent, brilliant clearness, and correct 
 intonation. The upper notes are particularly 
 good and pleasing, but the lower part of her 
 voice is less sweet, and when forced beyond 
 its natural strength, may be called rather 
 shrill. It is not, in short, a true voce di petto, 
 and has not the round, full, mellow tone pecu- 
 liar almost to the Italians. Her powers of 
 execution are very great, and the facility with 
 which she performs difficult passages has 
 perhaps never been surpassed. There is 
 no appearance of effort or exertion, and no 
 instrument could execute more neatly or
 
 SOXTAG. 189 
 
 correctly. But there is a want of feeling and 
 expression, both in the tone of her voice and 
 her manner of singing, which (if the truth be 
 confessed) render her a less satisfactory singer 
 than many who have not her powers or talent. 
 She appears to excel most (as it is natural 
 she should) in the music of her own country 
 in her native language. An air which I have 
 twice heard her sing from the Freyschiitz 
 with the original words, was very beautiful, 
 and she executed it with a simplicity that 
 made it truly delightful. It may be said, to 
 her praise, that she is not lavish of ornament 
 for the sake of showing of what she is capable. 
 Of the theatrical performance I witnessed I 
 am sorry not to be able to speak with equal 
 commendation. The part of Donna Anna 
 does not suit her, and by over exerting her 
 voice, especially in the concerted pieces, the 
 shrillness alluded to was more apparent. As 
 an actress she is genteel and graceful, and 
 nothing more ; she is said to succeed better in 
 lighter and gayer characters.
 
 190 SONTAG. 
 
 On the last occasion on which I heard her, 
 she sung a duet with Pasta, which was most 
 admirably performed, and their voices har- 
 monized better than could have been expected 
 from the difference of their quality. These 
 two great singers ought not to be put into 
 comparison with each other ; for while clear- 
 ness, neatness, and delicacy are the charac- 
 teristics of Sontag, power, energy, and strong 
 expression are those of Pasta, who must still 
 retain her undisputed pre-eminence as the 
 tragic heroine ; while the other, by her real 
 talent in her own line, will secure the conti- 
 nuance of a high degree of favour, though the 
 expectation, too highly raised, may not have 
 been completely satisfied. 
 
 The other parts of Don Giovanni were 
 unequally filled. Caradori (whose benefit it 
 was) sung sweetly, as she always does, that 
 of Zerlina. Zuchelli, who is lately arrived, 
 as the hero of the piece, was less lively and 
 animated, and far less the libertine, than the 
 original representative, Ambrogetti, but sung
 
 SCHUTZ, &C. 191 
 
 the part muth better, from the superior ex- 
 cellence of his voice, and greater delicacy of 
 his manner, a quality in which he surpasses 
 every bass singer I ever heard. Pellegrini, 
 the Leporello, is a good buffo, but past his 
 prime, and has nearly lost his voice. It was 
 to be regretted that Curioni did not perform 
 the tenor part, so well sung formerly by 
 Crevelli ; and the inferior characters were all 
 less well filled than on its first performance 
 in this country, and subsequent revivals. 
 
 In addition to the above-named performers, 
 the opera company has been increased by 
 another German singer, Madame Schutz, who 
 has a fine mezzo soprano voice, and a good 
 style of singing. She generally performs 
 male characters, and made her debut as 
 Sesto in La Clemenza di Tito. Caradori 
 being likewise a German, no less than three 
 of the principal singers at the Opera are of 
 that nation. On the whole, the company 
 may now be considered as very complete, 
 and the season promises to be by far the 
 most successful of any of late years. But
 
 192 GENERAL REMARKS. 
 
 there has been, and there is likely to be, 
 little novelty in the operas. Two new ones 
 only have been produced, and neither with 
 much success. Both were nominally taken 
 from the English history ; Mayerbeer's Mar- 
 gherita di Anjou, and La Rosa Bianca e la 
 Rosa Rossa, by Mayer. Caradori was prima 
 donna in the first, Pasta in the second, but 
 they were little liked, and not often acted. 
 The eternal repetition of the same old operas 
 must at last weary the public, but no prospect 
 is held out of any more new ones during 
 the present season.* Pasta continues to 
 perform her favourite characters, and revivals 
 only are talked of for Mademoiselle Sontag. 
 
 I cannot help here remarking, that never 
 at any time within my memory was there 
 so large a number of singers of eminence 
 assembled at once in this country as at the 
 present moment. Besides those engaged at 
 the Opera, we now have Velluti, Ronzi, and 
 
 * Pasta brought out for her benefit, one by Bellini, 
 called Norma ; the scene of which is laid in Wales. 
 It was not liked.
 
 RONZI, &C. 193 
 
 her husband De Begnis, Madame Toso Puzzi, 
 and other good concert singers. To sum 
 up all, Catalan! is shortly expected, being 
 engaged for the biennial musical festival at 
 York. We shall then possess almost all the 
 singers of great renown on the continent. 
 The rage for music is revived throughout 
 all classes, and certainly the taste of the public 
 is much improved, good operas of Mozart, 
 Salieri, Weber, and other excellent masters, 
 having been performed in English with great 
 success. The singers too are very superior 
 to those of some of the preceding periods, 
 in which I have had to complain of the want 
 of excellence, as well as dearth of vocal 
 performers. But while I give all due praise 
 to them, I cannot be reconciled to many of the 
 compositions they sing, and find no cause to 
 retract any observations I have made on the 
 general style of modern musi c . 
 
 May 1828.
 
 SUPPLEMENT.
 
 The First Edition of these Reminiscences 
 gave an account of the Opera for fifty 
 years only, when my personal knowledge 
 of it in a great measure ceased. To every 
 subsequent republication additions have 
 been made, which have gradually ex- 
 tended it to above sixty. If, therefore, 
 any trifling discrepancy should appear 
 between the earlier and latter parts, it 
 must be attributed to their being written 
 at different intervals, and to the conclud- 
 ing sections being founded more on the 
 reports of others, than on my own ob- 
 servation.
 
 SUPPLEMENT. 
 
 SECTION X. 
 
 18291834. 
 
 Introduction Farewell to Catalan! Italian Opera 
 Malibran, Pasta, &c. German Opera French 
 Opera Giulietta Grisi, &c. 
 
 WHEN I ended the last section, I did not 
 think ever to have written another : nothing 
 could be further from my intention than to 
 make any addition to this book, and though 
 solicited more than once to continue my ac- 
 count of musical occurrences to the present 
 period, I as often declined doing so, having 
 more than ever renounced the opera, and 
 gone to it (that is, the Italian) but twice 
 during the last six years. I, therefore, am 
 nearly ignorant of the performers and per- 
 formances during that period, and have paid
 
 198 SUPPLEMENT. 
 
 so little attention to what was passing at the 
 theatre that I cannot recollect the singers 
 or the operas with any accuracy or order ; 
 still less can I pretend to give any criticisms of 
 my own, or to speak of them in detail. Some 
 whom I have occasionally heard in private 
 concerts will be more particularly mentioned, 
 and my opinion given on those performances 
 which I have seen. My remarks on all the 
 rest will be very short. Another circumstance, 
 quite foreign to the Opera, has occasioned my 
 writing at all, namely, the Musical Festival 
 that has lately taken place in Westminster 
 Abbey, to which these pages will be almost 
 exclusively devoted. But not to leave so long 
 an interval by passing abruptly to my principal 
 subject, I have thought it better to insert a 
 brief notice of the Opera, imperfect as it must 
 be, since I closed the former edition of these 
 Reminiscences, and make this assume a more 
 connected form. Before, however, I do this, 
 I cannot resist seizing the opportunity of 
 taking my last leave of Catalani, though in
 
 CATALAN1. 199 
 
 what I have to say I am personally concerned, 
 and it may seem impertinent to introduce 
 circumstances uninteresting to the generality 
 of my readers. The admirers of that great 
 singer will, I am persuaded, excuse me. 
 
 I mentioned at the end of the last section 
 that Catalani was expected in England to sing 
 at the music meeting at York. She came 
 accordingly, in the course of the summer of 
 1828, to fulfil her engagement. When that 
 was concluded, she traversed the whole island, 
 and came, not professionally engaged, but on 
 a tour of pleasure, to Plymouth (where she 
 had been several years before), on a visit to the 
 then Port Admiral, the late Earl of Northesk 
 and his lady. Happening to be in the neigh- 
 bourhood at that time, I had, of course, fre- 
 quent opportunities of seeing her. During 
 her stay of some weeks she was prevailed 
 upon to give one public concert. There I 
 again heard her sing, for the first time since 
 she left the Opera in 1813. So much had 
 been said of her falling off, and of the failure
 
 200 CATALANI. 
 
 of her voice, that I was most agreeably sur- 
 prised at finding how little change there was 
 in her, and how well she had retained her 
 powers during so long a period, and when 
 arrived to at least middle age. It was, indeed, 
 still beyond any other younger voice. She said 
 herself that she had lost some of its upper 
 notes ; but, she added, she had gained in 
 expression what she had lost in compass, and 
 therefore was, on the whole, a gainer. This 
 was, indeed, true. She sung several songs in 
 a style that no one else can equal, and con- 
 cluded the concert with " God save the King," 
 and " Rule Britannia," which last I always 
 thought she sang better than any body. So 
 she did on this occasion. It electrified and 
 enraptured the audience. In myself, it ex- 
 cited feelings with which music had long 
 ceased to inspire me : it was impossible to 
 restrain them. It may seem strange that in 
 her latter years she should please me more 
 than in the most brilliant part of her career. 
 But so it was ; and I now found out that,
 
 CATALANI. 201 
 
 although at that time I liked her less than 
 some of her predecessors, I now liked her 
 better than most of her successors. The last 
 notes I ever heard from her were in my own 
 house, accompanying herself on the piano- 
 forte, in some beautiful little Italian canzonets. 
 In person she is grown large, but still very 
 handsome, with all her fine expression of 
 countenance, and few or no marks of age. 
 She had with her a daughter, now married, 
 who sang a little, but inherited neither her 
 mother's voice nor talents. I have since heard 
 of her from Florence, near which town she 
 resides, and I hope will long do so in health 
 and happiness. 
 
 I resume my account of the Opera, collected 
 chiefly from report, and such other information 
 as 1 have been able, not without some diffi- 
 culty, to obtain. I shall rarely speak from 
 my own knowledge; when I do so, it will be 
 more in detail, and noticed accordingly. 
 
 I left off at Sontag's arrival, in 1823. She 
 was the great attraction of that season, and 
 K 5
 
 MALI BRAN. 
 
 continued in equal favour during a second, 
 after which she quitted England, and soon 
 after the profession, on her marriage with a 
 man of rank in Holland. 
 
 When Pasta went away, her place was 
 filled (in 1829) by Madame Malibran, who 
 had made so very successful a debut here as 
 Mademoiselle Garcia, then went to America 
 and married. After a very few years she 
 returned to Europe, re-appeared on the stage 
 under her new name, and soon gained the top 
 of her profession. This had been foretold by 
 Velluti, when she sung a secondary part in 
 the opera with him. She then showed high 
 talents, which he said had only to be matured 
 by good tuition and practice (aided by ab- 
 staining awhile from public singing above 
 her growing powers), to render her a first- 
 rate performer. Such she is now considered 
 in every country she has visited. Here she 
 made a great impression, and immediately 
 rose to the highest favour. I went to hear 
 her once in Semiramide ; but it seems I waa
 
 MALIBIIAN. 203 
 
 unlucky in my choice, as all agree that in that 
 part she is inferior to her rival Pasta, not 
 having quite her force, nor as much majesty 
 in her action or appearance. In characters of 
 less energy she is much better, and best of all 
 in the comic opera. She even condescended, 
 in one instance, to make herself a buffa caricata, 
 taking the third and least important part in 
 Cimarosa's Matrimonio Segreto, that of an old 
 woman (the Mrs. Heidelberg of the Clandes- 
 tine Marriage), generally acted by the lowest 
 singer of the company. From an insignificant 
 character she raised it to a prominent one, 
 and very greatly added to the effect of that 
 excellent opera, which was then performed 
 admirably throughout. In Semiramide, when 
 I saw it, the principal male character, that of 
 Arsace, was acted by Pisaroni, a singer of the 
 first excellence, possessing the finest contralto 
 voice of almost any female ever heard ; but 
 she was, unfortunately, one of the plainest, 
 and could never appear in the dress of her 
 sex. She was fully conscious of this great
 
 204 P1SARONI. 
 
 disadvantage, and always acted male parts ; 
 nor would, as I have heard, accept an engage- 
 ment till she had prepared her employers 
 for the deformity they would see. To those 
 who only listened, she gave unqualified satis- 
 faction, for her singing was perfect. She 
 remained here only one season. 
 
 The opera of Semiramide is considered, by 
 Rossini's admirers, as one of his best, and 
 there are fine pieces in it ; but I own it 
 wearied me exceedingly by its extreme length, 
 not only of the whole as a drama, but of the 
 individual pieces, some of which seemed to 
 me as if they would never end. These tedious 
 compositions completely exhaust my attention, 
 till I am insensible of their beauties. Yet on 
 that occasion this long opera was not thought 
 sufficient for the evening's amusement, for it 
 was followed by one act of the Barbiere, in 
 which Sontag performed. Wearied as I was 
 I could not help staying a part of it, to hear 
 her sing Kode's Variations, which she did with 
 astonishing neatness and accuracy ; but after
 
 LABLACHE. 
 
 all, it is an instrumental, not a vocal, piece of 
 music. I had seen once before the last part 
 of Semiramide, little more than one scene, 
 performed by Pasta and Velluti, who, though 
 not regularly engaged, came forward on one 
 particular night, for one of those strange 
 medley performances now much in vogue. 
 She certainly acted better than Malibran, 
 he less well than Pisaroni. But the end of 
 the opera (in a theatrical point of view) is not 
 so good as either Bianchi's, acted by Banti, 
 or Portogallo's, by Catalan!. The death of the 
 heroine is not nearly so well managed, and does 
 not give so much opportunity for the display 
 of good acting. Two new male singers made 
 their first appearance this year, Donzelli, a tenor 
 of celebrity in Italy, with a powerful voice, 
 which he did not modulate well, and Lablache, 
 a bass of uncommon force and power. His 
 voice was not only of deeper compass than 
 almost any ever heard, but when he chose, 
 absolutely stentorian, and he was also gigantic 
 in his person ; yet when he moderated its
 
 MRS. WOOD. 
 
 extraordinary strength, he sung pleasingly and 
 well. He was a most excellent actor, espe- 
 cially in comic operas, in which he was, as I 
 am told, as highly diverting as any of the most 
 laughable comedians. 
 
 It is impossible for me to speak in any 
 detail or regular order of the subsequent 
 seasons. I can give little more than the names 
 of a good many performers successively en- 
 gaged, and of the very few new operas 
 brought out of late years. Whenever Pasta 
 or Malibran were here, as they generally were 
 alternately, for a part, at least, of the season, 
 the opera was successful. Other prima donnas 
 came who were either little liked, or totally 
 failed. Among these were a Mademoiselle 
 Blasis, and a Madame Meric Lalande, both 
 French women, and too French in their 
 singing to give much pleasure. In one season 
 there was no good effective prima donna at 
 the opening, and after some unsuccessful 
 trials, the manager engaged, for a few nights, 
 till Pasta should arrive, Mrs. Wood (formerly
 
 DAVID. 207 
 
 Miss Paton), whose powers were equal to the 
 situation, but she did not understand the 
 language she sung ; a great disadvantage, 
 which, however, her knowledge of the stage 
 enabled her to overcome with tolerable suc- 
 cess. The first tenor that appeared that year 
 was David, son of the excellent singer who 
 was here just forty years before. The 
 younger did not equal his father, but had 
 enjoyed great reputation in Italy. When he 
 came to this country he was passe, and his 
 voice become so unsteady that he was obliged 
 to disguise its defects by superfluity of orna- 
 ments and passages ; but he had always been 
 too florid a singer. An opera in which he 
 performed with Mrs. Wood, was L'Ultimo 
 Giorno di Pompei, by Pacini, a very feeble 
 composer. 
 
 When Pasta came, later in the year, she 
 produced Anna Bolena, an opera by Doni- 
 zetti, in which another tenor made his 
 appearance, Rubini, who soon became, and 
 still continues, a great favourite. He possesses
 
 208 RUBINI. 
 
 one of the sweetest of voices, of great flexi- 
 bility, and is an excellent singer, but too fond 
 of the over-florid style now so much in fashion. 
 Lablache also performed in this opera. I 
 heard them all three at a private concert sing 
 some of the pieces from it, as a kind of 
 trial, preparatory to bringing it out for Pasta's 
 benefit. They did not please me, being of a 
 forced, unnatural style ; but on the stage 
 Pasta's very fine acting, almost horrific in the 
 last scene, obtained some success to this opera. 
 Another she performed was La Somnambula, 
 by Bellini, who has composed a great deal 
 of music expressly for Rubini, whom I heard 
 sing very beautifully one of his songs from II 
 Pirata at the concert above mentioned. In 
 the last opera both those performers sung and 
 acted to perfection. 
 
 The year 1832 (at which I am now arrived) 
 was less successful, though it had more variety 
 than any other in this period. A new ma- 
 nager had undertaken the opera, and he 
 managed ill both for himself and the public.
 
 MERIC. 209 
 
 It opened with a moderate company, the first 
 singer of which was Madame de Meric, not a 
 great, but far from an unpleasing performer. 
 She was a clever actress, was possessed of a 
 pretty good voice, and considerable versatility 
 of talent, rendering her very useful, as she 
 sung in serious or comic operas, first parts 
 or second, and in any language. While in 
 this country she performed in Italian, German, 
 French, and English, and could have done so 
 equally well in Spanish, had it been required. 
 I saw her several times in German only. Two 
 prima donnas came later in the year, neither 
 of whom gave any satisfaction. These were 
 Grisi and Tosi, and there was also Mariani, 
 the rival of Pisaroni in voice, singing, and 
 ugliness, like her, performing only male cha- 
 racters. In the two first qualities she was 
 certainly her inferior, in the last it was difficult 
 to know to which the preference should be 
 given. I was induced, unfortunately, to go 
 one night to see Gli Arabi nelle Gallic, a very 
 poor opera by Pacini, acted by Grisi and
 
 210 GERMAN OPERA. 
 
 Mariani, a very indifferent tenor named 
 Winter, and a bass no better. On the whole, 
 I never hardly, in my long experience, wit- 
 nessed a performance so mediocre in every 
 respect. The other first woman, Tosi, had 
 been greatly admired in Italy, but she was 
 passee, and her voice grown thin and uncertain 
 in its intonation. She had been a handsome 
 woman. But she was not at all liked, and 
 acted only a very few nights, having very soon 
 quarrelled with the manager, and broken her 
 engagement. I heard her once, at a private 
 concert, as also Mariani, which latter had 
 certainly a good voice, and was reckoned a 
 good singer. 
 
 The Italian opera being thus unsuccessful, 
 the manager tried the experiment of procuring 
 a German company of singers, and bringing 
 out the operas of the best composers in that 
 language. This novelty succeeded beyond 
 expectation : the German opera became the 
 rage, and the Italian sunk into insignificance. 
 This company opened with Der Freyschiitz,
 
 SCHUOEDEIl DEVRIENT. 211 
 
 which had for many years been known in 
 translation, and was a great favourite in this 
 country. Meric performed the first part in it. 
 The real first woman did not appear till the 
 second opera, when Beethoven's Fidelio was 
 produced for the debut of Madame Schroeder 
 Devrient. She was indeed a very superior 
 performer, with a voice less sweet perhaps 
 than powerful, capable of great exertion and 
 strong expression. She was a capital actress 
 (considered in Germany as by far the best in 
 opera, as is her mother, Madame Schroeder, 
 in tragedy), and one of the most striking and 
 effective performers I ever saw. Though by 
 no means a pretty woman, and without marked 
 features, such as produce most effect on the 
 stage, she had the power of great expression 
 and change of countenance. In Fidelio she 
 was throughout in male attire. I was present 
 at her first appearance, and so charmed by 
 her performance that I not only went to see 
 that opera a second time, but never failed
 
 212 GERMAN OPERA. 
 
 afterwards going to hear, once at least, every 
 other that was acted during that season and 
 the next. The whole opera was throughout 
 well sung and well acted, by the tenor Hait- 
 zinger, who had a very beautiful voice, very 
 much like in tone, and almost equal, to 
 Tramezzani's ; a bass named Pellegrini, and 
 the second woman Schneider. But it was in 
 the chorusses especially, that the excellence of 
 the German singers was most displayed. 
 These were performed in a manner quite new 
 to an English audience. Those in the Frey- 
 schiitz had made a most favourable impression, 
 from the perceptible difference from all former 
 performances of them. Those in Fidelio were 
 still finer ; especially one of prisoners, so 
 strikingly fine, and well acted as well as sung, 
 that it was always repeated every night. The 
 cause of this greater excellence is the very 
 superior knowledge of music possessed by 
 the Germans, who study it more scientifically 
 than any other nation. Nobody who has not
 
 GERMAN OPERA. 213 
 
 heard the chorusses of Weber, Beethoven, 
 and other great composers, sung by native 
 performers, can have an idea of their perfection. 
 In the course of the season Don Giovanni 
 also was acted, Devrient taking the part 
 of Donna Anna, Meric, Donna Elvira, and 
 Schneider, Zerlina. Another opera brought 
 forth was Macbeth, taken from our tragedy, 
 but very much altered ; the music was com- 
 posed by Chelard, the conductor of the 
 orchestra ; it was extravagant and not pleasing. 
 Meric sung one of the most cramped and 
 difficult songs I ever heard, with astonishing 
 truth and precision ; it was entirely devoid 
 of melody or beauty. Devrient's Lady 
 Macbeth was a very fine piece of acting, 
 particularly in the sleeping scene, to which 
 she gave a novel though natural effect. But 
 the opera did not please. 
 
 In the following year the German company 
 was transferred to Covent Garden Theatre, 
 where I saw the Zauberflote, and Weber's 
 fine opera of Euryanthe, which called forth 
 all Devrient's powers. She was always ex-
 
 214 FRENCH OPERA. 
 
 cellent, and enthusiastically applauded ; but 
 was less well supported that year, all the 
 other performers being new except Haitzinger. 
 German operas were again attempted a third 
 season at the Opera house, but Devrient 
 would not come over, and they totally failed 
 after a few nights, her successors being below 
 mediocrity. 
 
 Another experiment, in the year 1832, 
 was bringing over a company of French 
 singers from Paris, for the purpose of per- 
 forming Mayerbeer's opera of Robert le 
 Diable. They were the same that acted it 
 when it first came out, consisting of Madame 
 Damoreau, who had made her debut in this 
 country about ten years before in the Italian 
 opera under the name of Cinti (not her real 
 name, but one Italianized from the French); 
 Nourrit, the first tenor ; and Le Vasseur, first 
 bass of the opera at Paris. The latter, I 
 believe, is the person of that name who had 
 sung here two or three seasons when the 
 opera was at its worst. Meric also sung in 
 it. Cinti when she was here before was
 
 FRENCH OPERA. 215 
 
 very young, had a good voice, and was a 
 promising singer, but not then fit for first 
 characters, into which she was put by the 
 interest of some injudicious friends, who 
 wished to set her up against Camporese and 
 Ronzi, but she was unable to compete with 
 them. On her return to Paris, she continued 
 to sing at the Italian theatre there, till 
 induced to transfer her services to the grand 
 opera at which her husband Damoreau is 
 a singer. But she would do so only on 
 condition of choosing the operas and parts 
 she should perform ; and by her means, a 
 very great change has taken place in the 
 national opera, where good music may now 
 be heard, such as will please other ears 
 besides French ; and the former horrible 
 screamings and howlings are nearly exploded. 
 It would be happy if the alteration in the- 
 atrical performances had stopped here ; but 
 the French stage, once the pattern of decency 
 and propriety, is now become a school for 
 profaneness and immorality ; the most sacred
 
 216 FRENCH OPERA. 
 
 subjects are exhibited, the most indecent 
 exposed, almost without disguise, in operas, 
 melodramas, and ballets. Of this per- 
 verted style is Robert le Diable ; yet I 
 am sorry to say it had been translated and 
 produced at our theatres. I saw it acted 
 at Covent Garden, and never did I see a 
 more disagreeable or disgusting performance ; 
 the sight of the resurrection of a whole 
 convent of nuns, who rise from their graves, 
 and begin dancing like so many bacchantes, 
 is revolting ; and a sacred service in a church, 
 accompanied by an organ on the stage, not 
 very decorous. Neither does the music of 
 Mayerbeer compensate for a fable which is 
 a tissue of nonsense and improbability. Of 
 course I was not tempted to hear it again 
 in its original form, and it did credit to the 
 taste of the English public that it was not 
 endured at the Opera house, and was acted 
 only a very few nights. 
 
 This speculative experimental season did 
 not prove fortunate. Malibran came towards
 
 TAMBURINI. 217 
 
 its close ; and also a new bass, Tamburini, 
 whose voice is sweet and flexible in an 
 uncommon degree, and who is an excellent 
 singer. I heard him once in a concert. 
 These good performers arrived too late to 
 repair the losses ; the receipts never covered 
 the expenses, the singers did not get their 
 salaries, and the manager became a bankrupt. 
 
 In the ensuing year, the former lessee 
 ventured again to take the Opera house, and 
 still continues to be its manager. Of 1833 
 little is to be said, although the company 
 was unusually strong, with Pasta first, and 
 afterwards Malibran at its head, and with 
 all the male singers, except Lablache, who 
 had sung in several of the previous seasons. 
 
 That which has just concluded begun ill, 
 for want of a prima donna, with the signal 
 failure of two wretched substitutes who could 
 not be borne. But Caradori, happening to 
 be in England, was engaged for a limited 
 time, and carried on the operas with tolerable 
 success till the arrival of the first woman who 
 L
 
 218 GHISl. 
 
 was expected. This was Giulietta Grisi, 
 younger sister of the former singer of that 
 name, but very much superior to her in all 
 respects, combining every requisite for the 
 situation ; handsome person, sweet yet power- 
 ful voice, considerable execution, and still 
 more expression ; she is an excellent singer, 
 and excellent actress ; in short is described 
 to be as nearly perfect as possible, and is 
 almost a greater favourite than even Pasta 
 or Malibran. The male performers were 
 again Rubini and Tamburini, with Zuchelli, 
 Curioni, and a new tenor named IvanhofF, 
 a Russian by birth, who has studied in Italy, 
 has a very beautiful voice, and chaste simple 
 style of singing, but little execution. The 
 only novelty produced this season was Rossini's 
 opera, called L' Assedio di Corinto, new 
 indeed in England, but not so in Italy, where 
 it was first acted a dozen years ago as 
 Maometto Secondo, but totally failed. With 
 some slight changes it has been brought out 
 here under another name. It has in it
 
 GRISI. 219 
 
 but little originality, though a great deal of 
 noise ; a siege and 7'urkish music giving 
 ample scope for the brass instruments. The 
 rest have been only eternal repetitions of the 
 old operas, hacknied by every singer in 
 every season, till it is a wonder they can 
 be listened to any longer. The changes have 
 been rung on the Gazza Ladra, the Barbiere, 
 Semiramide, and others, favourites in their 
 novelty, but heard even to satiety. Grisi has 
 also ventured on two of Pasta's best characters, 
 Anna Bolena and La Somnambula, which was 
 thought bold, but she succeeded completely 
 in both ; the latter particularly is considered 
 as her chef-d'oeuvre. I now regret that I did 
 not go to the opera to hear all these excellent 
 singers in their proper place, as I shall 
 unfortunately have to mention them in another, 
 where they were entirely out of their element, 
 and be forced to speak of them in a very 
 different manner. 
 
 The new operas during this last period 
 have been fewer than in any other of equal
 
 220 NEW OPERAS. 
 
 length, and those few of less merit. Besides 
 those already noticed, there have appeared 
 some so indifferent as to be speedily with- 
 drawn ; L' Esule di Roma, by Donizetti ; 
 Romeo e Giulietta, by Vaccaj ; and perhaps 
 one or two more. Bellini's Pirata and Som- 
 nambula are the only tolerably good ones, 
 and he is the best of the present composers. 
 All the rest, Mercadante, Pacini, Coccia, c., 
 either feebly imitate Rossini, or if they 
 attempt originality, run into extravagances 
 greater than those of the master of the new 
 school, and in both instances are of course 
 inferior. It is greatly to be lamented by all 
 lovers of music that so little good is now 
 composed, and that genius, as well as taste, 
 appear to be extinct in Italy. The modern 
 German composers are decidedly better than 
 the Italian, and even French have latterly 
 produced works which may claim precedence 
 over them. Let us hope, for the credit of 
 England, and to retrieve our character of 
 being an unmusical nation, that the encourage-
 
 NEW OPEKAS. 221 
 
 ment now held out to native talent in the 
 line of composition may eventually be attended 
 with success ; and that the patriotic pro- 
 prietor of the English Opera house may be 
 able to elicit any latent sparks of genius 
 that exist among the musicians of our own 
 country.* 
 
 I proceed now to the principal subject that 
 induced me again to resume my pen. 
 
 * A modern work has just come to my hands, entitled 
 Diary of an Ennutjee, by Mrs. JAMIESON, in which I have 
 found opinions on the subject of Rossini and his 
 imitators, so exactly coinciding with my own, that I 
 could wish to subjoin them: but they are too long for 
 insertion, and I will not injure them by garbled 
 extracts. Indeed it would be only a repetition of 
 what has been already said, almost in the same words. 
 After describing in strong terms the present perverted 
 and diseased taste, the Author exclaims, Must it be 
 ever thus ? I once hoped it would not. Now I begin 
 to fear that this, like many other miscalled improvements t 
 has done a mischief not easy to be repaired ; and 
 that a taste so diseased cannot without much difficulty 
 be cured.
 
 MUSICAL FESTIVAL 
 
 SECTION XI. 
 
 1834. 
 Musical Festival in Westminster Abbey Conclusion. 
 
 HAVING been present at most of the cele- 
 brated performances in Westminster Abbey 
 half a century ago, I was exceedingly curious 
 and anxious to attend those which have lately 
 taken place in imitation of them, and vied with 
 them in magnitude and grandeur. I went to 
 all the concerts, four in number, with a strong 
 recollection of the original from which they 
 were copied, and with the determination of 
 comparing minutely and impartially the pre- 
 sent with the past. I will freely confess that 
 my expectation was not raised so high as to 
 imagine I should find them equal, far less 
 superior, to the last, particularly as regarded 
 the principal vocal parts of the performances.
 
 IN WESTMINSTER ABBEY. 223 
 
 There are not now to be found singers of sucli 
 excellence as then existed, and of the most 
 eminent of the present day, few are now in 
 England. The instrumental department was 
 likely to be better filled, as also the choral. 
 Those parts, therefore, I felt confident would 
 be more effectively performed, nor was I much 
 disappointed. The good singers for solo parts 
 were few in number, not one transcendently 
 excellent, and those whom it was possible to 
 collect were not employed as much, or as 
 advantageously as they might have been. I 
 keep more particular observations for their 
 proper place in the course of the following 
 details, and shall make them fully, and without 
 reserve. 
 
 This Festival, as I have said, was in pro- 
 fessed imitation of the commemoration of 
 Handel, exactly fifty years ago, in the year 
 1784, performances similar to which were 
 repeated in 1785, 86, and 87. The King's 
 illness then interrupted them for two years, 
 but they were resumed in 1790, and 1791,
 
 224 MUSICAL FESTIVAL 
 
 which was the last. Of these, some descrip- 
 tion was given before, but it was necessarily 
 short, being written many years after they 
 took place, and without any memoranda or 
 documents to refer to. I now regret it was 
 not fuller, that a closer comparison might be 
 made between them and the present, of which 
 it is my intention to speak at greater length. 
 
 These, like the former, were given under 
 the immediate patronage of their Majesties, 
 who honoured all the four concerts with their 
 presence. These were also under the manage- 
 ment of a committee of eight, chiefly directors 
 of the ancient concerts, with a numerous sub- 
 committee of professional men, who, I believe, 
 were not much (if at all) consulted; but they 
 rendered essential service in another way. 
 The conductor of the music was Sir George 
 Smart, on whom lay the chief, if not the sole, 
 charge of selection and arrangement. To 
 these, the only real managers, were added 
 between fifty and sixty names, with the title 
 of presidents. Of that number I had the
 
 IN WESTMINSTER ABBEY. 225 
 
 honour to be one ; but so far from having any 
 allotted department over which to preside, we 
 were neither taken into counsel, nor informed 
 of any thing whatever, rior had any duties to 
 perform. Yet we too were not without our 
 utility, for to us were granted reserved places 
 at double the price of the open seats, and we 
 were not restricted as to the number for 
 which we might apply. The eagerness of the 
 public to be present at the performances, and 
 the attraction of a secure place were so great, 
 that the demand for them exceeded all expec- 
 tation and belief, so that at least two-thirds of 
 the Abbey were filled with the holders of 
 tickets at two guineas instead of one. A few 
 days before the performances any money 
 might have been had for a seat. I have 
 heard as much as ten guineas were offered. 
 For the rehearsals, of which the tickets were 
 half-a-guinea, above double the price was in 
 many instances paid for admission. The 
 whole of the middle aisle, and the front 
 benches in the sides both below and in the 
 L 5
 
 226 MUSICAL FESTIVAL 
 
 galleries, were appropriated to the presidents' 
 tickets, each of which bearing a number cor- 
 responding to the seat reserved for it, the 
 possessors of them would have had not the 
 slightest difficulty in finding each his own 
 place, even had they not been guided by the 
 gentlemen of the sub committee, who acted as 
 stewards, and conducted every individual to 
 his proper seat. The arrangement was in- 
 comparable ; there was neither hurry, crowd, 
 nor confusion ; the thousands of the audiences 
 arrived, were placed, and departed with greater 
 facility than at any public place, however 
 small. The plan was admirably contrived, and 
 perfectly carried into effect ; the excellent 
 regulations laid down being strictly observed, 
 and so clear they could not be mistaken. 
 Equal good order was observed without, and 
 the several lines of carriages reached the door 
 appointed for their setting down without danger 
 or difficulty. 
 
 The fitting up of the Abbey on this occasion 
 was very similar to what it was on the former,
 
 IN WESTMINSTER ABBEY. 
 
 with some deviations, not perhaps for the 
 better. The King's gallery occupied, as be- 
 fore, the eastern end of the nave, but it was 
 placed lower, and instead of ranging with the 
 side galleries, was elevated but a few steps 
 above the floor of the middle aisle, thereby 
 breaking in upon the regular lines and levels 
 so essential to the beauty and symmetry of 
 architecture. By this position it did not, as 
 formerly, conceal the organ of the choir, 
 which partially appeared above it ; half of the 
 pipes being seen, while the other half was 
 sunk below, had a very bad effect on entering 
 at the western end. The whole of that struc- 
 ture seemed crushed and depressed, and would 
 have looked still worse had not other galleries 
 been added over it in consequence of the 
 increasing demand for places as the time of 
 the performances approached. These upper 
 seats ranged with the sides, and what was 
 resorted to as a convenience became an im- 
 provement to the general appearance. The 
 royal closet was splendidly decorated, and 
 covered inside and out with crimson and gold
 
 228 MUSICAL FESTIVAL 
 
 draperies. On each side of the King's tri- 
 bune sat the suite of their Majesties, and 
 immediately below it the directors. On the 
 right of the latter was a box for the Bishops, 
 on the left for the Dean and Chapter of West- 
 minster. Thus far it was just the same as at 
 the commemoration ; but there were not, as 
 then, boxes beneath these for the families and 
 friends of the directors on one side, and of 
 the chapter on the other. The latter, there- 
 fore, lost their privilege and accommodation : 
 but the directors had places reserved else- 
 where. The side galleries projected too much 
 before the pillars, for though many seats were 
 gained by it, they seemed to narrow the middle 
 aisle. The fronts of them were also hung 
 with crimson. The effect of the whole was 
 gorgeous, indeed too much so, as not in ac- 
 cordance with the architecture of the Abbey. 
 They were before covered with paper and 
 gothic ornaments, much more appropriate to 
 the building, lighter in appearance, and more 
 favourable to the sound, which must have 
 been considerably deadened by so much dra-
 
 IN WESTMINSTER ABBEY. 229 
 
 pery. When the whole space was filled, it 
 had altogether a fine effect, though less so 
 than before, from the change that has taken 
 place in dress, particularly that of the ladies. 
 Then they all carne in full dress; now the 
 permission, or rather the direction, to wear 
 morning costume, detracted much from the 
 grandeur of the spectacle; the King, his suite, 
 and the directors, were all dressed in splendid 
 uniforms. The female singers, following the 
 example of the audience, appeared in dis- 
 habille, hardly respectful in presence of their 
 Majesties. 
 
 The orchestra occupied, as before, the 
 west end ; but several changes were made in 
 its arrangement, which certainly were not 
 improvements either to the look or to the 
 effect of the music. A large organ was 
 erected, in front of, and round which the 
 instrumental performers were placed. But 
 they were much concealed by desks, gaudily 
 ornamented with gold, which dazzled the eye 
 unpleasantly, and cast the players on the 
 several instruments into so dark a shade they
 
 230 MUSICAL FESTIVAL 
 
 were scarcely visible. The order too in which 
 they were placed was different, and the violon- 
 cellos, instead of occupying conspicuous front 
 seats, were almost out of sight. The singular 
 and pleasing effect before remarked, of the 
 bows moving simultaneously like a piece of 
 mechanism, was now quite lost. The principal 
 vocal performers of course occupied the front 
 row. Behind them formerly sat all the female 
 singers of the chorus on steps, raised in a 
 semi-circular form, so that they were not only 
 distinctly heard, but seen. On each side, 
 seats rising in regular gradation into the side 
 aisles were allotted to the male part of the 
 chorus, without any interruption or separation. 
 But now there was not room enough left for 
 such an arrangement, the front of the orchestra 
 being straight, instead of projecting consider- 
 ably in the centre ; so that all the choral per- 
 formers, female as well as male, were driven 
 farther back behind the pillars, and quite 
 parted from the central part of the orchestra 
 by a bar or low partition. This was an 
 obvious and perceptible disadvantage, placing
 
 IN WESTMINSTER ABBEY. 231 
 
 them so much out of sight, and intercepting 
 the sound of the voices. The consequence 
 was, that the chorusses failed in some measure 
 of their effect, and were not so powerful as 
 they would otherwise have been. Yet the 
 total number of the band was larger than in 
 1784; but the instrumental and vocal per- 
 formers were in different proportions : then 
 the former predominated, now the latter. The 
 voices too were differently combined. I sub- 
 join the numbers that they may be compared 
 together, and leave to better judges to decide 
 which combination was likely to produce the 
 best effect.* 
 
 1784. 1834. 
 
 Instruments .... 274 222 
 
 Voices. 
 
 Cantos . . 60 124 
 
 Altos . . 46 68 
 
 Tenors .83 64 
 
 Basses .84 100 
 
 273 3.56 
 
 Total . . 547 578 
 
 Total in 1785 616: 1786741: 1791 above 1000.
 
 23/2 MUSICAL FESTIVAL 
 
 The greatest difference however in the 
 orchestra arose from the new system intro- 
 duced in the conducting and leading of the 
 band. It has been mentioned before, that at all 
 the former concerts in the Abbey, Mr. Bates 
 both played the organ, and was sole conductor ; 
 also, that Cramer was the only leader. Now 
 a different plan was adopted, Sir George 
 Smart conducted, not playing himself, but 
 beating time with a baton. This method has 
 long been pursued abroad, but was not intro- 
 duced into this country till very lately. 
 Large orchestras in Italy and Germany are 
 so conducted ; and in France it is universal, 
 and followed not only at their grand opera, 
 (where they are so proud of their premier 
 coup (Varchet], but in the smallest theatres, 
 with the smallest band, not the commonest 
 ballad or vaudeville are ever sung without a 
 baton. On my first going there (above fifty 
 years ago) I was exceedingly struck with this 
 (to me) novel fashion, and thought the per- 
 formers must be very bad musicians, who
 
 IN WESTMINSTER ABBEY. 233 
 
 could not be kept in time without that noisy 
 accompaniment. One necessary consequence 
 of this foreign adoption, was the change above 
 alluded to in the arrangement of the orchestra. 
 Sir George Smart was placed at a desk nearly 
 where the keys of the organ were before. 
 The organist was hid by a screen, and I long 
 wondered how he and the conductor could see 
 or communicate with each other ; but I 
 learned afterwards that by a new and in- 
 genious contrivance, the keys of the organ 
 were turned round, so that the player sat 
 with his back to the instrument and facing the 
 conductor, who as before looked towards it. 
 In a band so managed, the conductor is every 
 thing, the leader nobody, the first fiddle being 
 as much under the control of the baton as the 
 last. On this occasion therefore, the leader, 
 instead of being the most conspicuous person, 
 was not visible. I sought in vain to find him, 
 he being placed on one side, behind his desk, 
 like all the inferior performers. Sir George 
 Smart alone was conspicuous, and he was
 
 234 MUSICAL FESTIVAL 
 
 rendered more so by an opening left in the 
 centre of the front seat, for no imaginable 
 reason but to exhibit the conductor's back to 
 all the auditors. In that central point for- 
 merly sat MADAME MARA : the gap recalled 
 her to the minds of those who remembered 
 her there, and seemed to be left vacant 
 because nobody was worthy to fill her seat : 
 there was indeed no one. I will not pretend 
 to say which method is the best, the old or 
 the new, professing my ignorance of instru- 
 mental performances, and orchestral effects. 
 I shall therefore refer my readers to a high 
 authority, which, even at this distance of time, 
 and amidst all the changes that have taken 
 place in music, must still have its due weight. 
 I think few will even now presume to dispute 
 the science, the judgment, the taste, of Dr. 
 Burney. He it is who thus expresses him- 
 self on this subject in his account of the 
 Commemoration of Handel, written and pub- 
 lished by the command of George the Third. 
 " Foreigners, particularly the French, must
 
 
 
 IN WESTMINSTER ABBEY. 235 
 
 be much astonished at so numerous a band, 
 moving in such exact measure, without the 
 assistance of a Coryphaeus to beat time, either 
 with a roll of paper, or a noisy baton or 
 truncheon. Rousseau says, that the more 
 time is beaten the less it is kept ; and it is 
 certain that when the measure is broken, the 
 fury of the musical general, or director, in- 
 creasing with the disorder and confusion of 
 his troops, he becomes more violent, and his 
 strokes and gesticulations more ridiculous in 
 proportion to their disorder." 
 
 Dr. Burney here introduces a curious 
 anecdote of the famous French musician, 
 Lulli, who killed himself with his own baton. 
 In the violence of his gesticulation, he hit 
 his foot so hard a blow that he died of 
 the consequences of it. The doctor then 
 proceeds : 
 
 " As this commemoration is not only the 
 first instance of a band of such magnitude 
 being assembled together, but of any band at 
 all numerous performing in a similar situation
 
 236 MUSICAL FESTIVAL 
 
 without the assistance of a manu-ductor to 
 regulate the measure, the performances in 
 Westminster Abbey may be safely pronounced 
 no less remarkable for the multiplicity of 
 voices and instruments employed, than for 
 accuracy and precision. When all the wheels 
 of that huge machine, the Orchestra, were in 
 motion, the effect resembled clock-work in 
 every thing but want of feeling and expres- 
 sion. And as the power of gravity and at- 
 traction in bodies is proportioned to their 
 mass and density, so it seems as if the mag- 
 nitude of this band had commanded and 
 impelled adhesion and obedience beyond that 
 of any inferior force. The pulsations in every 
 limb, and ramifications of veins and arteries in 
 an animal could not be more reciprocal, more 
 under the regulations of the heart, than the 
 members of this body of musicians, under 
 that of the conductor and leader. The totality 
 of sound seemed to proceed from one voice 
 and one instrument ; and its powers produced, 
 not only new and exquisite sensations in
 
 IN WESTMINSTER ABBEY. 237 
 
 judges and lovers of the art, but were felt by 
 those who never received pleasure from 
 music before. These effects, which will be 
 long remembered by the present public, per- 
 haps to the disadvantage of all other choral 
 performances, run the risk of being doubted 
 by all but those who heard them, and the 
 present description of being pronounced 
 fabulous, .if it should survive the present 
 generation." 
 
 " Nothing discovered the admirable disci- 
 pline of the band, and unwearied and deter- 
 mined attention of the audience so much as 
 the pauses, which are so frequent in Handel's 
 music ; for these were so unanimously calcu- 
 lated and measured, that no platoon, or single 
 cannon was ever fired with more exact pre- 
 cision or unity of effect than that with which 
 the whole phalanx of this multitudinous band 
 resumed its work after all the sudden, and 
 usually unlimited, cessations of sound, com- 
 monly called pause." 
 
 The musical reader will excuse, or rather 

 
 238 MUSICAL FESTIVAL 
 
 thank me for laying before him such long 
 extracts from so eminent a musician and 
 author. I have only one remark to make 
 upon them. If perfection was attained by the 
 old system, what more could be accomplished 
 by the new ? 
 
 That I may not have occasion to return 
 again to Dr. Burney's book, 1 will insert here 
 some other passages from it (though perhaps 
 they would find a better place hereafter), 
 descriptive of the effects that wonderful band 
 produced, for the accuracy of which I can 
 vouch from jocular demonstration, as well as 
 from the feelings I myself experienced. 
 
 " The effects indeed upon many were such 
 as modern times have never before expe- 
 rienced. The choral power of harmonical 
 combinations affected some to tears and faint- 
 ing ; while others were melted and enwrapt 
 by the exquisite sweetness of single sounds. 
 The universal rapture visible in the coun- 
 tenances of this uncommonly numerous and 
 splendid audience during the whole time that
 
 IN WESTMINSTER ABBEY. 239 
 
 Madame Mara was performing the very affect- 
 ing air, " I know that my Redeemer liveth," 
 exceeded every silent expression of delight 
 from music which I had ever before observed. 
 Her power over the sensibility of the audience 
 seemed equal to that of Mrs. Siddons. There 
 was no eye within my view which did not 
 
 " ' Silently a gentle tear let fall.' " 
 
 " Nor, though long hacknied in music, did 
 I feel myself made 
 
 " ' Of stronger earth than others.' " 
 
 " At the end of her performance of this air, 
 the audience seemed bursting with applause, 
 for which the place allowed of no decorous 
 means of uttering." 
 
 On this description, not in the least ex- 
 aggerated, I am sorry to observe that in the 
 present instance I neither witnessed nor expe- 
 rienced any similar feelings. I saw no tears,
 
 240 MUSICAL FESTIVAL 
 
 nofaintings; nor did that general thrill pervade 
 the hearers which then was manifested by 
 signs so unequivocal. Admiration was ex- 
 pressed with calmness and moderation, without 
 excitement, and without emotion. 
 
 It is difficult to account for it, but certain 
 it is, that the bursts of the noble and sublime 
 chorusses of Handel (for to his alone I confine 
 that power) failed to electrify the audience in 
 the manner and to the degree they did at the 
 former performances, when they frequently 
 were absolutely startling, and felt through 
 every nerve. One of the most marked failures 
 occurred in the very beginning. The burst of 
 " Light" in the first chorus of the Creation, 
 was so comparatively feeble to what I had 
 always heard it before, that my attention, 
 which happened to be attracted elsewhere at 
 the moment, was not roused by the sudden 
 crash it ought to have produced. It disap- 
 pointed all. That there should be inequalities 
 in the performances is not surprising, and a 
 reason may be given why it should be so ;
 
 IN WESTMINSTER ABBEY. 
 
 for whereas, on the former occasion Mr. Bates, 
 himself a host, was the sole organist, and 
 Cramer sole leader, seven organists and Jive 
 leaders were now employed. This arrange- 
 ment was obviously meant to afford an oppor- 
 tunity to performers of celebrity for displaying 
 their talents ; but it was injudicious, for it is 
 clear that the habit of playing together is a 
 great advantage even to the best, which was 
 discernible in the performance of the Messiah, 
 wherein were engaged Mr. W. Knyvett and 
 Mr. Francis Cramer (the worthy son of his 
 talented father, and quite fit to fill his place) 
 who both always take the lead in the concerts 
 of ancient music, and are well acquainted with 
 each other. On the first day the organ, large 
 and powerful as it was, was not audible : it 
 might almost as well have been silent. It was 
 not till the latter part of the second concert* 
 when Mr. Turle, the organist of the Abbey, 
 took his seat at it, and accompanied Israel in 
 Egypt, that it was heard with proper effect. 
 Then, indeed, its deep tones were drawn forth 
 M
 
 MUSICAL FESTIVAL 
 
 and its full chords filled up the harmony and 
 completely gratified the ear. The difference 
 was striking. In what has been said, no re- 
 flection is intended to be cast on the other 
 organists, who probably are all men of emi- 
 nence. Dr. Crotch, who played part of the 
 third day, is well known to be so. But all 
 cannot be equal, and every player has a style, 
 a mannerism, if I may so call it, of his own, 
 which may not suit all occasions, or every 
 kind of music. Besides, there is another 
 thing to be taken into consideration. One 
 good violin or piano-forte is very like another, 
 and all can be played alike. It is not so with 
 that stupendous and complicated piece of me- 
 chanism the organ. No two may to an exact- 
 ness be the same. The touch, the pedals, the 
 stops may vary according to the skill or fancy 
 of the builder ; and it is almost necessary for 
 the organist, especially on such an occasion, to 
 be a little accustomed to the individual in- 
 strument he is to play. Therefore one organist, 
 knowing it well, would have been much better
 
 IN WESTMINSTER ABBEY. 243 
 
 than more. The number of leaders was of 
 less importance, since by the new system they 
 are all subject to the controul of the baton. 
 The failure in the effect of some of the 
 chorusses may perhaps be partly attributed 
 to this cause, partly to some slight difference 
 in expression, however trifling, and some 
 diminution of the spirit and energy formerly 
 displayed. Nevertheless, the choral part of 
 the performances was the best, and gave more 
 general, if not unqualified, satisfaction, than 
 any other. 
 
 It is obvious that these remarks apply only 
 to the chorusses of Handel, which alone can 
 be brought into comparison with the original 
 performances, when the music of no other 
 composer was allowed to be performed. On 
 this occasion, compositions of various masters 
 were introduced, and selections given from 
 Haydn, Mozart, Beethoven, and others of 
 celebrity. I am not, nor ever was, a professed 
 or exclusive Handelian, though I always 
 highly admired his sacred works, and think
 
 MUSICAL FESTIVAL 
 
 them more truly sublime than those of any 
 other master whatever ; but I never wish to 
 bear his music out of a church. Haydn and 
 Mozart have always been greater favourites 
 with me, and delighted me more frequently, 
 their music being better adapted for general 
 use, as of a less solemn and austere character. 
 I therefore was glad of the opportunity of 
 hearing some of their best sacred compositions 
 so performed, and promised myself great 
 pleasure from the variety they would afford. 
 But I was much disappointed, and the inter- 
 mixture was (to me at least) far from agreeable. 
 Their styles are so different from Handel's, 
 (hey do not accord together, and will not 
 btarjuxta-positton. It produces contrasts too 
 striking, transitions too abrupt ; and I now 
 very much agree in opinion with some old 
 frequenters of the ancient concerts, that the 
 joining them so closely together is disadvan- 
 tageous to both. I can have no hesitation in 
 giving the preference over them all to Handel 
 on an occasion like the present, and in such a
 
 IN WESTMINSTER ABBEY. 245 
 
 place. The merits of the other three masters 
 above named are universally known, and they 
 are justly esteemed as of the greatest ex- 
 cellence. Of the two first I have had occasion 
 before to express my admiration ; with Beet- 
 hoven I am but little acquainted. I shall 
 notice their compositions now performed, 
 when I give somewhat in detail an account of 
 the selections made for the several concerts 
 with which it is my intention to conclude. 
 
 But I must first make mention of the prin- 
 cipal vocal performers employed : and this is 
 the least agreeable part of the task I have 
 imposed upon myself, for it is that to which 
 the least praise can be given ; and except in a 
 very few instances I cannot bestow on their 
 individual exertions very high commendations. 
 But there are exceptions, and I heartily wish 
 the arrangements made in the allotment of tin.- 
 parts had made them, as they might havi- 
 been, more numerous. 
 
 Before I name the leading singers, I must 
 in fairness premise, that the Directors of the
 
 246 MUSICAL FESTIVAL 
 
 Festival were unlucky in having so few of 
 great excellence to choose from, and that they 
 engaged all whom it was possible (and more 
 than it was necessary) to procure. Still there 
 was not one female fit to be what the Italians 
 call prima donna assoluta, no Mara, to whom 
 all the chief songs would of course have been 
 assigned. Her part therefore was distributed 
 amongst many. Perhaps there is not one in 
 Europe (since Catalani's retirement) equal 
 to filling her place, except Pasta and Malibran, 
 who could not be got ; although the latter 
 came to England on some other pretence, on 
 the very week of the festival, and no doubt 
 wished to perform at it. I believe indeed she 
 offered her services, but demanded terms 
 so exorbitant and unreasonable that it was 
 impossible to accede to them, and the Directors 
 were perfectly justified in rejecting her ; upon 
 which she left the country immediately to go 
 to Milan, where she is engaged on terms quite 
 incredible. 
 
 As therefore there was no super-eminent
 
 IN WESTMINSTER ABBEY. 247 
 
 female singer, I shall depart from the usual 
 courtesy of giving precedence to the ladies, 
 and begin my enumeration with one who was 
 decidedly the most prominent amongst the 
 vocalists. I mean Mr. Braham, who on this 
 occasion surpassed himself, and whose perform- 
 ance was really quite surprising. He has long 
 been at the head of his profession as an English 
 singer, so long, that it is marvellous he can 
 be so still. He is now far advanced in life, 
 and it is almost beyond my recollection when 
 I first heard him sing as a boy. Yet he 
 retains in their full extent all his powers, 
 without diminution or decay. His voice is 
 just what it was in his prime : it is become 
 neither weak, nor husky, nor tremulous, but 
 filled with its volume all the vast space with 
 the finest effect. His singing too was most ex- 
 cellent. In my first account of him, I gave him 
 credit for the ability always to sing well, and 
 lamented his occasional deviations from a good 
 style. No such fault could now be found. He 
 now sung with the most perfect taste and judg-
 
 248 MUSICAL FESTIVAL 
 
 ment throughout. Nothing in particular 
 could be finer than his delivery of the very 
 beautiful recitative in Jephthah, " Deeper and 
 deeper still," as also of that which opens the 
 Messiah, " Comfort ye my people." 
 
 I cannot help introducing here a few ob- 
 servations upon English recitative, and I do 
 so in this place that they may be general, and 
 that I may not be under the necessity of 
 making particular applications hereafter. Re- 
 citative is not congenial to the English 
 language, and very few purely English singers 
 understand it. Most of them, especially the 
 female, fall into a great error respecting it. 
 They seem to consider it as an air, and in- 
 terlard it with inappropriate graces, uniformly 
 giving it in a drawling indistinct manner, spi- 
 ritless and insipid, which totally mars its effect. 
 The besetting sin of most English singers is, 
 that indistinctness of pronunciation which even 
 in a song is one of the greatest blemishes, and 
 in recitative is still more faulty. The Italians 
 never talk of singing it, but call it reciting,
 
 IN WESTMINSTER ABBEY. 249 
 
 and so it is and ought to be. It is not melody, 
 it is noted declamation ; and the first object is, 
 not to warble it into an air, but to deliver the 
 words with distinct articulation, sensible ex- 
 pression, proper emphasis, and with just 
 punctuation, if I may so call the necessary 
 short pauses for taking breath, which are 
 like so many commas. In short, it should be 
 assimilated as nearly as possible to good de- 
 clamation. To lengthen it out by slow delivery 
 is as wearisome as the dull recitation of a bad 
 actor, orator, or reader. Those who wish to 
 avoid these defects, could not have a better 
 lesson than from Mr. Braham. 
 
 To return from this digression, the in- 
 troduction of which will be accounted for by 
 those who remarked some passages in the 
 course of the performances. 
 
 The first female performer I shall mention, 
 as incontestibly the best, is Madame Caradori, 
 of whom my opinion has been given so fully 
 before, that it is unnecessary to add more 
 than that she sang with her usual excellence, 
 
 M J
 
 250 MUSICAL FESTIVAL 
 
 and was well heard, although it was feared her 
 voice would not be strong enough for so large 
 a space. This was by no means the case ; 
 she gave universal satisfaction, but was em- 
 ployed much too little, having only three 
 songs allotted to her in the course of all the 
 concerts. 
 
 The next place must be given to Miss 
 Stephens, who was so long the reigning favourite 
 of the public, both on the stage and in con- 
 certs. She has for some time wholly retired 
 from the former, and has seldom been heard 
 at the latter. Her voice has lately much 
 diminished in power, of which it would appear 
 she is sensible ; but she was induced to come 
 forward again on this occasion, and in the 
 present dearth of great performers, she was 
 an acquisition. She must not, however, be 
 judged by what she was, but what she is. It 
 would be flattery to say she sung as well as 
 she formerly did, the change in her voice 
 made that impossible, as it has lost in extent 
 as well as power ; but when she performed
 
 IN WESTMINSTER ABBEY. 251 
 
 songs of moderate compass, and easy ex- 
 ecution, she was still very agreeable, and left 
 little to be desired. When obliged, as she 
 injudiciously was, to attempt others of a higher 
 description, she certainly failed, and could not 
 give them with sufficient force. 
 
 The third in order was Madame Stock- 
 hausen, a very good singer and musician, but 
 hardly strong enough for the higher styles of 
 music. She has gained great favour here, by 
 the exquisite taste and expression with which 
 she sings national Swiss airs, than which (as I 
 am told) nothing can be more delightful. 
 Her skill and science enable her, however, to 
 sing always well. 
 
 The only other female singer deserving 
 notice is Mrs. W. Knyvett, who is a very good 
 second, and much liked at the ancient con- 
 certs, having been educated in that school, and 
 almost, if not entirely, devoted to that style 
 exclusively. 
 
 But besides these, there appeared on the 
 
 list of PRINCIPAL VOCAL PERFORMERS 11O less
 
 MUSICAL FESTIVAL 
 
 th&njif&cn others, the names of most of whom 
 were never heard of before, and very few are 
 likely to be heard of again, or rise to fame. 
 I will not here insert any of them. Of this 
 very large number three or four were singers 
 belonging to the play-houses, of no great note. 
 One only of them is even there considered as 
 a first singer. It is notorious that many who 
 do tolerably well on the stage, are not qualified 
 to be heard off of it ; still less are fit for 
 sacred music. It is not above once in a 
 century that there arises a Billington. The 
 rest, or the greater part of them, are, or were, 
 pupils of the new Academy of Music, which 
 being designed to profit largely by this Fes- 
 tival (whether or not it is an institution strictly 
 to be termed charitable, and therefore entitled 
 to any share of the gains, I will not here 
 discuss), it was probably thought right to 
 bring forward its eltves, to show what it 
 has accomplished. But nothing could be 
 more ill-judged. Among so many young 
 women there certainly were some fresh and
 
 IX WESTMINSTER ABBEY. 253 
 
 sweet voices, but not one finished singer. It 
 would not only be useless, but impossible, to 
 particularise them ; such an equality of me- 
 diocrity pervaded the whole, that it would 
 indeed be difficult to discriminate, or range 
 them according to the shades of greater or 
 less talent they displayed. Their being so 
 exhibited could be of no advantage to them- 
 selves, and still less to the academy, by 
 showing it had no better singers to produce. 
 In instrumental music that school has been 
 much more successful, and sent out scholars of 
 great promise. Many are now performing on 
 various instruments who already hold a dis- 
 tinguished place in their profession, and will 
 certainly, in time, rise to the highest rank in 
 it. If these young vocalists gained little 
 reputation, they certainly added but little to 
 the pleasure of their hearers, who did not pay 
 so highly to hear scholars and learners ; and I 
 am confident I speak the sentiments of a large 
 majority of the audiences, when I say they 
 would infinitely have preferred hearing the
 
 254 MUSICAL FESTIVAL 
 
 best singers often to such a variety of inferiors 
 once. Numbers do not make amends for 
 want of excellence. There appeared great 
 partiality and favouritism throughout the 
 arrangement, as will be seen when I come to 
 examine the selections. 
 
 In the male department too the singers were 
 numerous and various. Some, as Messrs. 
 Vaughan and Bellamy, long known to the 
 public, and grown old in their service, but not 
 like Braharn, so happy as to have retained their 
 powers. Others, comparatively young, and 
 in their prime, though less known, and more 
 seldom heard, deserve particular notice, such 
 as Messrs. Sapio and E. Seguin ; the former 
 having a beautiful tenor voice, the other, one 
 of the best basses I ever heard ; both are 
 excellent singers, and they were universally 
 liked ; yet, strange to say, they were allowed 
 to sing but once, though they might, or rather 
 ought, to have had a leading part in all the 
 concerts. Mr. H. Phillips, who is also a good 
 bass singer, had much more allotted to him,
 
 IN WESTMINSTER ABBEY. 255 
 
 and did justice to all he sung. The remainder 
 of the principals, to the amount of a dozen or 
 more, may be passed over in silence. Nume- 
 rically, no concert certainly was ever so well 
 provided with vocalists. Those included in 
 the list of principals are no less than forty 
 (independent of five I have yet to name), and 
 every one of them had at least one solo 
 allotted to them. The largest number of 
 first singers I can find in the list of the 
 former concerts (and that only in one) is 
 twenty; in 1784 they were not more than 
 fifteen. 
 
 To this long list must be added the singers 
 of the Italian opera, whom I have reserved 
 to the last, not as a bonne bouche, but as 
 a sort of hors d'ceuures, which might well 
 have been spared, as they contributed little 
 to the interest of the performances. These 
 were Giulietta Grisi, Rubini, IvanhofF, Zu- 
 chelli, and Tamburini ; the first engaged for 
 two of the days, the men for one only. They 
 could have been engaged at all, only for the
 
 256 MUSICAL FESTIVAL 
 
 sake of their names, which stand very high 
 in their profession ; but though excellent at 
 the opera, they were ineffective in the Abbey, 
 and it was known they would be so, as none 
 of them were at all accustomed to sacred 
 music, not even of their own church, or knew 
 how to sing it, particularly the prima donna, 
 who so entirely failed at her first rehearsal, 
 it was feared she could not appear at the 
 performance, but she improved a little. Of 
 the men, Tamburini alone did well. How 
 different this from the Italians of former 
 days, who sung Handel's music to the utmost 
 perfection ! These could attempt only masses, 
 and sung even those but indifferently ; so 
 entirely does the bad modern opera music 
 unfit singers for every thing that is good. 
 
 It now only remains to give the programmes 
 of the four concerts, with a few comments as 
 well on the selections as the performance. 
 
 The festival commenced on Tuesday, June 
 24th, with the Coronation Anthem, " Zadoc 
 the Priest," in compliment to the presence of
 
 IN WESTMINSTER ABBEY. 257 
 
 their Majesties. This was proper ; but I have 
 heard it performed with stronger and better 
 effect. It was by no means so striking as it 
 might have been, and it was remarked by many 
 that this large band was not so loud as they ex- 
 pected. This very fine composition did not well 
 introduce what, was to follow, namely, Haydn's 
 oratorio, " The Creation," which was given 
 entire. The latter appeared tame and weak in 
 comparison, though many parts of it are very 
 beautiful, and some few of the chorusses 
 extremely fine, almost emulating in sublimity 
 those of Handel. The opening solo was per- 
 formed by Mr. Bellamy; the ensuing chorus 
 has been already noticed. The first air was 
 sung by Mr. Vaughan, the next, " The mar- 
 vellous Work," by Miss Stephens. It is a 
 sweet composition, and she sang it extremely 
 well. It introduces the charming chorus of 
 "The Second Day." This was followed by an 
 effective song by Mr. Phillips. The next 
 piece is the air, preceded by a recitative, 
 " With verdure clad," given by Madame
 
 258 MUSICAL FESTIVAL 
 
 Caradori delightfully. This was decidedly 
 the best solo performance of the whole concert, 
 in which that excellent singer had nothing 
 more to do. Nothing was allotted in this 
 oratorio to Mr. Braham but a good recitative 
 accompanied, preceding the noble chorus which 
 concludes the first part, " The Heavens are 
 telling the Glory of God," by far the finest of 
 the whole. The beautiful little trio introduced 
 which gives it such pleasing variety, was 
 feebly sung, but the finale was very fine. 
 
 The second part of the concert comprised 
 the second and third parts of the Creation, 
 which are much shorter and very inferior to 
 the first. It is unfortunate that this oratorio, 
 beginning so well, should grow gradually 
 weaker as it proceeds, the second not being 
 equal to the first part, and the third the least 
 good of all. I shall notice but few pieces in 
 them. The part begun with a recitative and 
 air by Madame Stockhausen, " On mighty 
 pens the eagle wings.'' The song is a descrip- 
 tive one, meant to express the notes of various
 
 IN WESTMINSTER ABBEY. 259 
 
 birds. Such imitations are generally more 
 fanciful than exact, but it is pleasing, and 
 Madame Stockhausen sung it well. The next 
 two pieces deserving mention, both as com- 
 positions and for the manner in which they 
 were executed, were the recitative, " And 
 God said," and the air, " Now Heaven in 
 fullest glory shone," and that immediately 
 following, the recitative, " And God created 
 man," with the air, " In native worth," the 
 first sung by Mr. E. Seguin, the last by 
 Mr. Sapio. Of these two singers I have 
 given my opinion above, and can only again 
 express my surprise and regret that they 
 were heard no more. 
 
 The chorus concluding the second part of 
 the Oratorio, " Atchieved is the glorious 
 Work," and ending with " Hallelujah," is 
 exceedingly good. And here it were to be 
 wished the whole had ended. The account of 
 the Creation is complete, and the third part, 
 containing only some dialogues and duets by 
 Adam and Eve, is a useless addition. Though
 
 260 MUSICAL FESTIVAL 
 
 some of the melodies are very sweet, its pre- 
 vailing character is languor and insipidity, 
 without one spirited or enlivening piece to give 
 it variety. Neither were any singers employed 
 in it likely to remove those defects. The whole 
 was flat, vapid, and unimpressive, I must 
 therefore decline noticing it more particularly. 
 The third part of this day's performance 
 was the best, consisting of selections from the 
 oratorio of Samson. And here the superior 
 force of Handel's sacred compositions was 
 clearly manifested. It begun with the over- 
 ture, the opening recitative, " This day a 
 solemn feast to Dagon held," by Mr. Vaughan, 
 and the spirited chorus, " Awake the trumpet's 
 lofty sound." Then followed, with its reci- 
 tative, the song, " Total eclipse," which has 
 long been esteemed one of Mr. Braham's best 
 performances. He sung it with his usual 
 excellence. Next came (as it is placed in the 
 Oratorio) the fine chorus, " O first-created 
 beam." After some recitatives by various 
 performers, Mr. Phillips sung with spirit the
 
 IN WESTMINSTER ABBEY. 
 
 song " Honour and arms;" but it is too long, 
 and not a very pleasing one. A recitative 
 was then introduced uselessly and inappro- 
 priately, as in the Oratorio it is connected 
 neither with the piece that now preceded, nor 
 with that which followed it. Neither had it 
 any particular beauty to call for its insertion } 
 still less was there any merit in the perform- 
 ance of it by one of the supernumeraries, who 
 had nothing more to do. It would have been 
 far better to omit it, and pass at once to the 
 magnificent chorus, " Fix'd in His everlasting 
 seat," which was very well performed. After 
 some uninteresting recitatives, the Dead 
 March in Saul was introduced, but failed of 
 producing its usual effect, and excited no 
 emotion, perhaps from being misplaced. As 
 a strong, even too strong, a contrast to this, 
 the air, " Let the bright Seraphim," almost 
 immediately followed. This is one of the 
 most brilliant and difficult of bravuras, trying 
 to any voice, and absolutely cruel to the 
 generality of singers, from the very high pas-
 
 MUSICAL FESTIVAL 
 
 sages in it which few are capable of reaching ; 
 and when the performer seems to be painfully 
 exerting herself in attempting their execution, 
 the pleasure of the auditors is greatly dimi- 
 nished. Such, I am sorry to say, was the 
 case on the present occasion. Miss Stephens, 
 to whom the air was allotted, is no longer 
 equal to it, and it appeared to be a task of 
 labour and difficulty. At times she was but 
 faintly heard, and was almost overpowered by 
 the accompaniment of the trumpet. Under 
 such circumstances, she should not have been 
 required to undertake it. Now, indeed, Mara 
 was sadly missed. 
 
 The only remaining piece was the chorus, 
 " Let their celestial concerts all unite," which 
 finished the day with eclat, for it was the most 
 forcibly performed of any of the selection. 
 For the first time I was almost carried back 
 to the former celebrations, and reminded of 
 the impressions they produced. It was a 
 noble close. On the whole, this first concert 
 occasioned considerable disappointment, and
 
 IN WESTMINSTER ABBEY. 263 
 
 is still reckoned the most feeble of the four : 
 by some it was almost esteemed a failure. 
 But whether from experience or greater con- 
 fidence, or whatever else may be the cause, 
 the performances improved as they went on, 
 till they reached their greatest excellence in 
 the Messiah. 
 
 The first part of the second concert was 
 a miscellaneous selection, and a more incon- 
 gruous medley was never put together, with 
 very little to admire in it. It began with 
 Handel's Coronation Anthem, " The King 
 shall rejoice in thy strength," which is much 
 inferior to the other, but was given from the 
 same proper motive. Then followed an Italian 
 song by Rubini ; it was entitled Davide peni- 
 tents, and probably belongs to one of those 
 sacred operas acted in Italy in Lent, but cer- 
 tainly was never performed there in a church, 
 whatever it may have been on the stage. 
 This was a great stretch on the liberty granted 
 to depart from the rule of singing only English 
 words. For Latin there is the excuse that it
 
 264 MUSICAL FESTIVAL 
 
 is the language of the Roman Catholic church, 
 and that the words are always sacred, gene- 
 rally scriptural. But this was a mere 
 theatrical song in a modern language, quite 
 unfit to be introduced in so solemn a place. 
 It would not have been known to be sacred 
 but for the name of David prefixed, and the 
 capital letters beginning some words. If 
 printed without those distinctions it might be 
 supposed to belong to any common serious 
 opera. As a composition, though it was 
 Mozart's, it had little beauty ; and as to its 
 execution, it was thoroughly insipid and in- 
 effective. It was luckily the only interpolation 
 of the sort. 
 
 The next pieces were from Beethoven's 
 Judah (to English words), consisting of a 
 chorus, a solo by Vaughan, a quartet by him 
 and three inferior singers, and another chorus, 
 but none of them were striking. These were 
 followed by Handel's beautiful song, " Angels, 
 ever bright Pid fair," excellently sung by 
 Miss Stephens, who was perfectly equal to
 
 IN WESTMINSTER ABBEY. 
 
 its execution, and gave it with tender and 
 pathetic expression. Then came a little of 
 Haydn, extracted from his second service, as 
 it was called, that is, mass, consisting of the 
 " Kyrie eleyson," sung by Madame Stock- 
 hausen, Rubini, and Zuchelli, with a chorus. 
 The latter then sang a solo with violoncello 
 obligato, followed by another chorus. The 
 first of these pieces was part of the Gloria, 
 " Qui tollis peccata mundi," the last, the 
 concluding words of the Credo, " Et vitam 
 venturi saeculi," quite unmeaning without the 
 preceding sentences, nonsense if conjoined to 
 those which actually did precede them. In 
 thus garbling, it should be one object at least 
 to preserve some sense. We were then 
 treated with English again ; but of the two 
 next pieces I wish not to speak. The first 
 was an anthem by Sir John Stevenson, a very 
 moderate composition, sung by Phillips, whose 
 talents were thrown away upon it ; the other 
 a song of Handel's from Joshua, " Oh! who 
 can tell," which deserved to be better sung. 
 
 N
 
 266 MUSICAL FESTIVAL 
 
 These were followed by a piece of a very 
 different character, simple, and solemn in the 
 highest degree. This was Luther's Hymn, 
 most incomparably sung by Braham. The 
 organ accompaniment, and the chorus per- 
 formed sotto voce, produced an effect most 
 devotional and affecting. This hymn was 
 first introduced to notice in this country by 
 Catalani, who sung it at the York music- 
 meeting, where it gave the greatest delight. 
 She could not sing it better than Braham, but 
 the nature of her voice might perhaps be 
 better suited to it, though, being a mere psalm 
 tune, fit for the common church service, any 
 voice may sing it. Throughout the whole 
 performance, nothing gave me greater pleasure 
 than this natural unpretending air. 
 
 The remainder of this part was all Latin. 
 First, a song of Haydn's, from his fifth 
 service, by Grisi. This too was a disjointed 
 sentence from the Gloria, " Quoniam tu solus," 
 almost nonsense without the context. Of 
 Grisi's performance enough has been said to
 
 IN WESTMINSTER ABBEY. 267 
 
 show it was extremely moderate : her attempt 
 at a shake was miserable. The air was a 
 kind of bravura, a style ill adapted to the 
 words. 
 
 Next followed the whole Credo from 
 Mozart's first service, of which the middle 
 movement was a quartet, wherein Madame 
 Stockhausen had a share. 
 
 This part ended with a solo by that lady, 
 with a quartet and chorus, forming another 
 garbled extract from the " Agnus Dei." None 
 of these pieces were effective, or gave much 
 satisfaction. This mangling system is not 
 more favourable to the music than to the 
 sense. It is disadvantageous to any compo- 
 sition to have a passage taken out here, 
 another there, and not only separated from 
 niose that lead to and connect them, but 
 tacked together irrelevantly and unmeaningly, 
 so as not to form a uniform whole as they did 
 in their proper place and order, but a mere 
 patch-work ; nor can a greater be conceived 
 than was this first part of the concert.
 
 MUSICAL FESTIVAL 
 
 The other two were a regular connected 
 performance, for they consisted wholly of the 
 Oratorio of Israel in Egypt, one of the finest 
 and most scientific of Handel's compositions. 
 It was performed entire at the former cele- 
 brations, by the express command of George 
 the Third, exactly as it was written, and with 
 the additional, or as it was said, the original 
 name of Exodus. The whole oratorio was 
 then taken from scripture. Now, poetry was 
 introduced, some blank verse, some in rhyme, 
 consisting of recitatives and solos, none be- 
 longing to the original, some, I believe, not 
 even composed by Handel. These and many 
 more interpolations had been made when the 
 oratorio was performed, in three parts, at the 
 ancient music, but were judiciously left out 
 in the Abbey on His Majesty's discovering 
 they made no part of the score. As not one 
 of them was fine or well sung, it would have 
 been much better again to omit them. The 
 performance of the chorusses was exceedingly 
 good ; but as the other vocal parts were not
 
 IN WESTMINSTER ABBEY. 269 
 
 executed in a manner to call for any com- 
 mendation, no mention shall be made of them, 
 but I shall pass over to the end of the second 
 part of the oratorio, and third of the concert. 
 Then, and not till then, Braham and Miss 
 Stephens, left silent too long, were again 
 heard, but neither to the best advantage. He 
 had to sing only the common recitatives be- 
 tween the parts of the chorus, " The Lord 
 shall reign," which are generally given to a 
 secondary singer, and she the short solo (be- 
 tween recitative and song) " Sing ye to the 
 Lord," which again was rather beyond her 
 present powers, and she did not give it with 
 that force and electrifying effect which per- 
 haps none but a Mara or a Catalani could 
 impart to it. The very grand and most im- 
 pressive chorus, " The horse and his rider," 
 closed the day's performance. It will have 
 been remarked how very little the best singers 
 had to do in it, and that Caradori, who 
 appeared in the list as engaged for every day, 
 was not employed at all.
 
 270 MUSICAL FESTIVAL 
 
 The third day's performance commenced 
 with a hymn composed by Haydn in honour 
 of the Emperor, and answering to our God 
 save the King, but not for a moment to be 
 compared to it for beauty or grandeur. It is 
 however a soft and pleasing melody, con- 
 sisting of alternate verses and chorus. It 
 produced no great effect. The whole of the 
 rest of this part was taken from Judas Mac- 
 cabaeus. The first piece selected was the 
 chorus, " O Father, whose almighty power;" 
 the second the air, " O liberty," with its 
 introductory recitative. The violoncello ac- 
 companiment was of course well played by 
 Mr. Lindley, but it was to be wished he had 
 not finished his symphony with so long a 
 cadence, not quite in accordance with the air. 
 I would here by the way remark that not 
 instrumental only, but vocal performers also 
 are much too apt to indulge in the bad habit 
 of tediously spinning out their cadences to an 
 unreasonable length. In the latter especially, 
 there cannot be a greater fault. When ca-
 
 IN WESTMINSTER ABBEY. 271 
 
 denzas ad libitum invariably closed every 
 song, it was a positive rule to confine them, 
 shake included, to one breath. A cadence 
 a due fiati was by the Italians considered an 
 undisputed mark of a bad singer. I counted 
 no less than four respirations in one cadence, 
 the deepest taken just before the shake, dis- 
 joining it from the passage of which it is the 
 natural and expected close. The effect of 
 this is indescribably bad. To compress these 
 extemporaneous effusions into a short com- 
 pass, and so to sustain and husband the 
 breath as to effect it, requires more skill than 
 all the lengthened desultory wanderings which 
 are now sometimes heard. But 1 also have 
 wandered too far into criticism. To return 
 to the point whence I digressed. The song 
 last noticed used to be sung by Mrs. Billing- 
 ton. I do not know whether it was composed 
 for a soprano or a tenor voice : if the latter, 
 it should have been allotted to a more forcible 
 singer, for it was feebly performed. So were 
 the three next pieces ; a recitative by Vaughan ;
 
 MUSICAL FESTIVAL 
 
 a trio, " Disdainful of danger," sung in double 
 choir by six men without one powerful or 
 distinguished voice ; three better gifted in 
 that respect would have made more effect ; 
 and the duet and chorus, " Oh ! never, never 
 bow me down," not ill sung by two of the 
 fifteen. At last we were roused from all this 
 insipidity by Braham in the song, " Sound an 
 alarm," a spirited air, which he gave with his 
 usual energy. I shall make no further remarks 
 on this part, except that the chorus, " See the 
 conquering hero comes," so familiar to every 
 ear that every body can at least make an 
 attempt to hum it, was the worst performed 
 of any throughout the festival. It was begun 
 out of tune by the semi-chorus, and never got 
 quite right. A martial march was then intro- 
 duced, and the part ended with the chorus, 
 " Sing unto God." 
 
 The second part was miscellaneous, and 
 almost as great a medley as that noticed 
 before, but there were finer pieces in it. It 
 began with a Motet, by Mozart, in that sort
 
 IN WESTMINSTER ABBEY. 273 
 
 of Latin verse in doggerel rhyme, common in 
 Roman Catholic services, but very offensive 
 to English and classical ears. Tamburini led 
 the opening of it, and there were other solos, 
 ending in a chorus ; but it was not striking. 
 Next came an air, also of Mozart, sung by 
 Grisi, beginning " Laudate Dominum," and 
 ending with the Gloria Patri." She sung this 
 better than that of the preceding day, and it 
 was beautifully accompanied on the organ by 
 Dr. Crotch. Then followed the beginning of 
 a " Gloria in excelsis," by Pergolesi, in which 
 two boys were introduced, choristers of the 
 Chapel Royal and Abbey. They had sweet 
 voices, but it was very injudicious to employ 
 them, as there was no want certainly of 
 sopranos. Boys can never sing really well ; 
 and though their clear bell-like tones have 
 often a charming effect in the cathedral ser- 
 vices, they are not sufficiently formed to be 
 brought forward as principals on an occasion 
 like this. Such exhibitions are like school- 
 boys reciting their lessons in public, a thing 
 N 5
 
 274 MUSICAL FESTIVAL 
 
 not to be done except before select and par- 
 tial audiences. We are now come to the best 
 performance, not of this day only, but perhaps 
 of the whole ; the magnificent scene from 
 Jephthah, " Deeper and deeper still," with the 
 air, " Waft her, angels." I have already ex- 
 pressed my unqualified admiration of the 
 manner in which Braham executed this diffi- 
 cult and empassioned recitative, requiring so 
 much pathos and varied feeling : it is not too 
 much to say, it was perfect, and this alone 
 would establish his reputation as a first-rate 
 singer. The air also was finely sung ; but in 
 the oratorio it does not come immediately 
 after the recitative, which is followed by 
 a chorus, concluding the first part ; and the 
 air is the first in the second part. Both are 
 sung by Jephthah, but there seems to be a 
 propriety in the interval between them, as they 
 do not naturally belong to each other. The 
 song in its proper place is preceded by a short 
 recitative introducing it more appropriately. 
 This scene was followed by that which sue-
 
 IN WESTMINSTER ABBEY. 275 
 
 ceeds it in the oratorio, the recitative, " Ye 
 sacred priests," and air, " Farewell, ye limpid 
 streams," performed by Miss Stephens, who 
 was once more within her compass, and sung 
 them with great sweetness ; perhaps with not 
 quite so much spirit as might be wished in the 
 last lively movement, but on the whole very 
 well. We now return to Latin. First, a 
 double chorus by Leo, " Dixit Dominus 
 Domino meo, sede a dextris meis;" next an 
 air by Madame Stockhausen, stated to be 
 from a Litany of Mozart's, but the words do 
 not seem to belong to any such service, being 
 those of praise and thanksgiving, not of 
 prayer. Lastly, another air, said to be from 
 another Litany by the same composer, but it 
 is quite impossible this should be the case. 
 The words are so extraordinary for the place 
 where they were sung, I cannot help giving 
 them at length. " Panis omnipotentia verbi 
 caro factus in cruentum sacrificium cibus et 
 conviva." This is not very elegant latinity, 
 nor very easy to construe word for word : but 
 its meaning may be given in a single one,
 
 276 MUSICAL FESTIVAL 
 
 " TRANSUBSTANTIATION !" It was marked, First 
 performance in this country (certainly it was, as 
 Mozart did not live before the reformation), 
 and it is to be hoped it may be the last. 
 The reverend part of the audience, par- 
 ticularly the chapter of the church where 
 it was to be heard, would surely not have 
 permitted, had they been aware of it. They 
 were, evidently, not consulted. The air in 
 itself was nothing, and sung by Ivanhoff with- 
 out the least effect. The remainder of this 
 part was a selection from Beethoven's Oratorio, 
 the Mount of Olives, in English, parts of which 
 were very beautiful. It consisted of a recita- 
 tive and air, by Caradori, with a chorus. It 
 need not be said she sung it well. The rest 
 were recitatives by Vaughan and Bellamy, 
 and a trio, and final chorus. 
 
 The third part was shorter than, the two 
 preceding, but it was also the best, every 
 piece being beautiful. The first was the least 
 so ; an anthem of Purcell's, consisting of a 
 trio for three male voices, " Behold I bring 
 you glad tidings," and chorus, " Glory to
 
 IN WESTMINSTER ABBEY. 277 
 
 God." Though a good composition, finer 
 might be found in his t works. Perhaps the 
 comparison with Handel's setting of the same 
 words, which could not but occur, might 
 make it appear less fine that it really is. 
 To this succeeded the air from Solomon, 
 " What though I trace," by Mrs. W. Knyvett. 
 It was this song, I believe, that first gained 
 her reputation. Of course she is partial to 
 it, and introduces it on every occasion. There 
 appears to me to be a fault in her execution 
 of it. She sings it too slow, thereby making 
 it tedious. It is a soft, soothing melody, but 
 not in the least degree melancholy, which it is 
 rendered by her manner. It ought, on the 
 contrary, to flow on in a smooth and easy strain, 
 expressive of calm contentment. Storace 
 sung it excellently at the former celebrations. 
 Braham followed with a recitative from Joshua, 
 " Tis well," and the martial air and chorus, 
 " Glory to God," a spirited composition, 
 suited to his voice and style. The next piece 
 was from an anthem by Pergolesi, " O Lord,
 
 278 MUSICAL FESTIVAL 
 
 have mercy upon me," a most beautiful solo 
 of two movements ; the first highly pathetic ; 
 the second, " But my hope hath been in thee," 
 cheerful and exhilarating. It was sung by 
 Phillips with feeling and expression ; but I 
 did not think it well suited to his voice, as 
 I had heard it sung by a contralto, which 
 appears more appropriate for it than a bass. 
 Yet no fault was to be found with his per- 
 formance. This was succeeded by a very 
 delightful piece of music, a sestetto from 
 Haydn's first service. It was an extract from 
 the Credo, beginning, as usual, abruptly with 
 the words, " Et incarnatus est," and performed 
 by Grisi, Ivanhoff, Tamburini, Madame Stock- 
 hausen, Miss Clara Novello (a very young 
 girl with a clear good voice, the most pro- 
 mising of the scholars), and E. Seguin, who 
 was of course but little heard in a concerted 
 piece of so many voices. This was really 
 beautiful, and perfectly well sung ; as was a 
 quartette of Himmel, led by Tamburini, or 
 rather, a song by him, the other voices being
 
 IN WESTMINSTER ABBEY. 279 
 
 quite subordinate. It has been already men- 
 tioned that this excellent singer was the most 
 successful of the Italians ; and it may be 
 added that the last two pieces were the most 
 successful that they sung. The very fine 
 chorus of Handel, " From the censer," from 
 Solomon, closed the concert of this day, with 
 grand effect. On the whole, this pleased me 
 best of all the miscellaneous selections. 
 
 The fourth and last concert was the most 
 uniformly good, for it consisted solely of 
 the Messiah, the chef-d'oeuvre of Handel, 
 and most sublime of his works, perhaps of 
 every other work of the kind. It would 
 be superfluous to speak of one so well known 
 and familiar to all lovers of this species of 
 music, and I shall not uselessly weary my 
 readers by going through it in detail, but 
 confine my observations to the principal 
 pieces, chiefly as to the distribution of them, 
 and their execution by those to whom they 
 were allotted. I cannot but think the arrange- 
 ment might have been better, and some of
 
 280 MUSICAL FESTIVAL 
 
 the songs put into other hands with great 
 advantage to their performance. The error 
 complained of before, the little use made of 
 the best singers, was more conspicuous on 
 this day than on any of the preceding ; 
 the five principal only sung once. Brahani 
 opened the oratorio most excellently, but 
 these were his last notes, he was heard no 
 more. Caradori sung well " Rejoice greatly ;" 
 but though a brilliant song (and it was her 
 only one), it did not show her talents to 
 the best advantage. The recitative, " There 
 were shepherds," was allotted to Mrs. W. 
 Knyvett ; the air "Come unto Him," to 
 Madame Stockhausen ; and " I know that my 
 Redeemer liveth," to Miss Stephens, but she 
 had nothing more. It is difficult to imagine 
 why she had so little ; she ought certainly 
 to have delivered the recitative above men- 
 tioned, as she would have done so with 
 greater excellence, though even she might 
 have been inferior to Mara, whose distinctness 
 of articulation, though a foreigner, surpassed
 
 IN WESTMINSTER ABBEY. 
 
 greatly that of the native who executed it. 
 The last song named is much the finest in 
 the oratorio, but, though well sung, the effect 
 it produced was by no means equal to that 
 described by Dr. Burney in the passage 
 quoted above, nor was it to be expected ; 
 Miss Stephens never had as much expression 
 as her great predecessor, nor could excite 
 as much feeling in her hearers, but there 
 appeared little diminution of her powers 
 in this performance. There are in this 
 oratorio no less than five songs and several 
 recitatives for a bass voice, of which Phillips 
 sung two, Bellamy one, and a new singer, 
 named Machin, trvo ; but E. Seguin, who 
 would have been so useful and effective, was 
 not allowed to have any. There are fewer 
 for a tenor, but for one of them Sapio might 
 advantageously have been employed. There 
 being no good counter-tenor, the song " He 
 was despised," which is generally given to 
 that voice, was assigned to a female contralto, 
 a Miss Masson, who sung it correctly, but
 
 MUSICAL FESTIVAL 
 
 without feeling. As it is within the compass 
 of a tenor, Harrison, Knyvett, and others, 
 having sung it, Braham might have taken it, 
 and would have given it all its deeply pathetic 
 expression, which was totally lost. Miss 
 Masson having just before sung " He shall 
 feed his flock," a simple quiet air, more suited 
 to her powers, need not have had this also 
 allotted to her. On one of the former occa- 
 sions it was executed to perfection by Rubi- 
 nelli. Of the other solo parts it is 
 unnecessary to speak : the songs of the 
 Messiah are generally reckoned inferior to 
 the chorusses, and many of them are always 
 given to secondary singers. I have often 
 lamented that one of them is so, because it 
 gives languor and weakness to the close of 
 the oratorio, the third part of which is all fine 
 with the exception of the song, " If God be 
 for us," which is exceedingly long and heavy. 
 It signifies little by whom it is performed, but 
 perhaps Mrs. W. Knyvett, her voice being 
 sweeter, might have given it a better effect
 
 IN WESTMINSTER ABBEY. 288 
 
 than Mrs. Seguin, who sung it. This song 
 immediately precedes the magnificent final 
 chorus, " Worthy is the Lamb," one of the 
 most elaborate and scientific ever composed ; 
 too much so perhaps for unscientific hearers. 
 The " Hallelujah " is not quite so intricate a 
 composition, has more striking and startling 
 passages, and is more generally popular. 
 Both these unrivalled and inimitable produc- 
 tions, and indeed all the other chorusses, 
 some of them yielding but little to these in 
 grandeur, were extremely well performed ; 
 and on this department, on this day, the highest 
 praise may be bestowed. 
 
 Thus ended this great Festival, which was 
 so impatiently looked forward to, excited such 
 great curiosity, and was attended by so many 
 thousands. To the present generation it was 
 an entire novelty, and the eagerness to go to 
 it probably equalled that which was manifested 
 half a century ago ; but all who, like myself, 
 are old enough to remember the former per- 
 formances, decidedly give them the preference
 
 284 MUSICAL FESTIVAL 
 
 over these ; for though the instrumental part 
 now was nearly as good as it could be, the 
 choral appeared less strong, and in the prin- 
 cipal vocal department there certainly was no 
 comparison. 
 
 It must, however, be acknowledged to have 
 been in many respects a fine performance : 
 yet I cannot think it will be remembered or 
 handed down to posterity with a reputation at 
 all like that of the first, which after the lapse 
 of very many years was never named without 
 enthusiasm. The recollection of all who had 
 been present at those performances brought 
 them back so vividly to the imagination as to 
 revive the feelings they had excited at the 
 time. None could talk of them but with rap- 
 ture, and the few survivors do so still. These 
 are already spoken of, with a certain degree of 
 approbation, it is true, but without any strong 
 expressions of surprise or delight. The change 
 of taste in music is so general, so total, that 
 modern musicians do not now understand the 
 ancient style, nor modern audiences appreciate
 
 IN WESTMINSTER ABBEY. 285 
 
 it so highly. That of Handel in particular is 
 so much gone out of fashion that it was feared 
 the performances would not have been so well 
 attended if, as on the former occasion, they 
 had consisted of his alone. On this account it 
 was that so much of other composers was 
 introduced. I cannot think the choice from 
 them was always happy ; much was dull, 
 much insipid, and except in a very few in- 
 stances, there was not any thing to be greatly 
 admired, or make a strong impression. If 
 even Haydn's chef-d'oauvre, the Creation, 
 which is so beautiful in many of its parts, 
 failed of making one, nothing else could. But 
 all the other composers were overpowered by 
 the gigantic strength of Handel, and they 
 should have been kept apart. I have my 
 doubts whether any foreign church music can 
 ever be much relished in the country : it has 
 not the solemnity of our own, and I should 
 myself have greatly preferred services and 
 anthems of our best old English composers, 
 and there are many most excellent, to any
 
 286 MUSICAL FESTIVAL 
 
 foreign introduction whatever. They would 
 have coalesced so much better with each 
 other, and with the great master (if I may 
 venture to borrow the title of the gran maestro 
 of Italy) that the tout ensemble would have 
 been more of a piece, and more uniform sub- 
 limity preserved throughout. I say nothing 
 of the obviously greater propriety of per- 
 forming only Protestant church music in a 
 Protestant church, and of the incongruity of 
 masses being mixed up with it. Formerly 
 such an intermixture would not have been 
 permitted ; but the liberality and toleration 
 that prevail in the present times, give a lati- 
 tude which would not have been extended to 
 it then. It may be said that the Italian 
 singers could sing nothing but Latin. (How 
 well they did sing it has been noticed above.) 
 In that case, I for one would willingly have 
 dispensed with their services, for in this in- 
 stance they were of little value, and they would 
 not have been missed ; but the foreigner* 
 employed before all sung English. Pacchie-
 
 IN WESTMINSTER ABBEY. 287 
 
 rotti indeed, understood and spoke the lan- 
 guage well ; Mara quite like a native. But 
 not these only, Rubinelli, David, and others of 
 inferior note, Tasca, Bartolini, were all taught 
 to pronounce the words with tolerable cor- 
 rectness, and went through their parts ex- 
 tremely well. The same thing might have 
 been done now if it had been worth while to 
 take the trouble, which I confess it was not. 
 Zuchelli is the only exception. He is half an 
 Englishman, and could have performed well in 
 English. When he first came back to this 
 country, in which he was born and educated, 
 Bartleman had lately died, and if he would 
 have remained here, he might have succeeded 
 him, but he preferred returning to France. 
 Now it is said he is gone off", of which I am no 
 judge, not having heard him for many years. 
 Certain it is that he has been put into the back 
 ground at the opera since the arrival of Tam- 
 burini, and that on the present occasion he had 
 no opportunity afforded him of showing his 
 talents to advantage.
 
 288 MUSICAL FESTIVAL 
 
 To bring however these remarks to a con- 
 clusion, I do not expect that a repetition of 
 this festival will be very eagerly desired; but 
 should it ever be renewed, by the correction 
 of a few defects, by not a few omissions, by a 
 more tasteful selection, and more judicious 
 arrangements, it might, under more favourable 
 circumstances, be raised to the excellence of 
 the former. It is not from the want of talent 
 in the country so much as from the misappli- 
 cation of it, that this was so inferior ; for the 
 musical celebrations at York are spoken of 
 with the highest praise, and said to have been 
 much more effective. Some who were pre- 
 sent, and good judges too, went the length of 
 saying, after hearing one of these concerts, 
 that they would not go to a second, because 
 they had been at York. Though the space 
 there was larger, and the band perhaps not so 
 large, all agree that it was finer, and its 
 strength more powerfully called forth. Ano- 
 ther celebration that took place last year at 
 Norwich, though on a smaller scale, has also
 
 IN WESTMINSTER ABBEY. 289 
 
 been described as more complete in all its 
 parts, and more perfect in its execution. By 
 all accounts it seems that both were better 
 managed, and gave greater satisfaction. It is 
 true Catalan! sung at the former place, Mali- 
 bran at the latter, and one such brilliant 
 leading voice is an incalculable advantage. 
 With such an addition, and the experience 
 that has been gained by this first experiment, 
 there is no reason why future performances in 
 Westminster Abbey should not equal, or 
 surpass all imitation and competition. 
 
 There is one other point to which I cannot 
 help adverting (though it may give offence in 
 some quarters) of higher importance than all 
 the rest, in which it is to be hoped the ex- 
 ample of the last century will be better followed 
 on any future occasion ; and that is the appro- 
 priation of the profits derived from the per- 
 formances. Then, as now, the Royal Society 
 of Musicians, established for the support of 
 aged and decayed professors, was considered 
 as entitled to the first share in the gains.
 
 290 MUSICAL FESTIVAL 
 
 When what was deemed a reasonable and 
 sufficient proportion had been supplied to 
 that fund, a very large sum, amounting to 
 many thousands, was divided between St. 
 George's and Westminster Hospitals, then 
 labouring under distress, from which that 
 timely assistance effectually relieved them. 
 Those two most useful charitable institutions 
 have lately been rebuilt, and still remain 
 unfinished, by which their funds must have 
 been impoverished, and undoubtedly a similar 
 benefaction now would have been most ac- 
 ceptable to defray their expenses, and replace 
 them on a stable footing. But neither those, 
 nor any other hospital or charity whatever 
 have been thought fit to participate in the 
 very large surplus which it is understood has 
 remained after all the expenses are paid, as 
 well as the share to the Musical Fund. None 
 but musicians are to be benefited by it. 
 Other institutions for them, not to be justly 
 included under the name of charitable, are to 
 have equal portions with that which alone is
 
 IN WESTMINSTER ABBEY. 291 
 
 legitimately entitled to it; one of them in 
 particular of questionable utility, interesting 
 only to a few, and of no importance at all to 
 the public, besides being extensively patro- 
 nized, and sufficiently supported by other 
 means. This distribution and these exclu- 
 sions are very much to be regretted. Cavils 
 were raised and objections started in high 
 quarters against this festival as an irreverend 
 desecration of the Abbey. The first would 
 have been silenced, and the second removed by 
 a strict adherence to the former precedent in 
 this respect. Not a word could have been 
 uttered to their prejudice had these sacred 
 performances in a sacred place been devoted, 
 as most assuredly they ought, solely to fur- 
 thering the interests of charity.* 
 
 * I have been greatly assisted in writing this account 
 of the Festival by much useful information received 
 from William Ayrton, Esq., who obligingly lent me the 
 book of performances in the Abbey in 1784, contain- 
 ing also other oratorios sung at the Ancient Music, 
 left to him by his father, Dr. Ayrton, who was one of
 
 292 CONCLUSION. 
 
 Here I close these Reminiscences. It is 
 impossible I should ever again have any 
 temptation or opportunity to extend them 
 farther. Perhaps I have already gone too 
 far, and this last part might have been spared. 
 But as this festival, coming home more closely, 
 as it did, to my old recollections, greatly 
 excited my almost extinguished curiosity, and 
 revived the last spark of interest I shall ever 
 take in music, I could not resist the desire to 
 express the effect it had upon me, and my 
 opinion as to its result. I may have done so 
 
 the sub-committee at the commemoration, then an 
 active, not a nominal post. The book was the more 
 valuable from having belonged to Dr. Burney, who had 
 made remarks in the margin. Mr. Ayrton also 
 favoured me with a sight of the libretti of most of the 
 operas produced in the few last seasons, from whence 
 I gathered almost all I know. He had made marginal 
 notes respecting the music, but not many very lauda- 
 tory : as dramas, and as poetry, they are so bad, it is 
 impossible to read them. How is the lyric drama 
 fallen since the days of M etastasio !
 
 CONCLUSION. 293 
 
 too diffusely, and be accused of the garrulity of 
 old age, as well as of its unbending prejudices 
 in not giving more entire and unqualified 
 approbation to the performances. But com- 
 parisons could not but arise in my mind 
 between these and the original; thinking more 
 highly of those that are gone casts no discredit 
 on those that exist. I hope, therefore, I shall 
 not be condemned as either too lukewarm or 
 too severe. I have long been unfortunately 
 circumstanced as to music. I cannot like all 
 it is the fashion to admire, nor often hear what 
 I admire myself. The very few operas I have 
 heard of late years have either disappointed, 
 wearied, or still worse, sent me away quite 
 displeased, and dissatisfied ; so that my indif- 
 ference to going to the theatre is now turned 
 into repugnance. I have therefore been much 
 gratified by once more hearing what had 
 given me such pleasure before ; certainly more 
 so than by any thing that can be heard else- 
 where.
 
 
 CONCLUSION. 
 
 In conclusion I must say, as I did in my 
 first page so also in my last, first impressions 
 are always the most lasting, and mine have 
 been indelible. With this excuse I take leave 
 of my indulgent readers (if any have followed 
 me so far) and finally bid them Farewell. 
 
 THE END. 
 
 />// F. II. ll'iiil, Richmond,
 
 UCSB UBtfAWC

 
 >' m 
 
 . v]^^^^H&v* 
 
 
 

 
 PI