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Sm*. 6, 185L] &t* e VLtmtttt. 855
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INFANT PRODIGIES. I have many objections...
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THE OPERA IN 18 5 1. The curtain falls; ...
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dDrgnttnafraim uf tljt Jkmk t POLITICAL AND SOCIAL.
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—--?- Ion's Lktteh on "Patriotism a Chak...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Sm*. 6, 185l] &T* E Vltmtttt. 855
Sm * . 6 , 185 L ] & t * e VLtmtttt . 855
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Infant Prodigies. I Have Many Objections...
INFANT PRODIGIES . I have many objections against Infant Prodigies in general , and the Bateman children in particular ; but I do not share the ittdignation of critics at the " profanation of Shakspeare , " and the " degradation of the drama , " seen by them in the Bateman performances . As to Shakspeare and " profanation , " really , after seeing what I have seen , hearing what I have heard , ay , and what others have applauded too , this objection seems incomprehensible . " It is absurd to suppose children of it
eight and six can understand ohakspeare . may not be absurd to suppose that " eminent " tragedians understand him ; but it is a fact that they do not . ** - How can children feel these emotions ? " They cannot : but your " eminent , " also , does not feel them . They do what he doesspeak the verses with traditional emphasis , express the passion in conventional symbols ; everything is taught—tone , look , pause , gesture . The actor who gives all these according to the promptings of his own feelings , is as one man in ten thousand . If , therefore , the Bateman children suggest sarcastic reflections on the art of acting , whose is the fault ?
As to degradation , that is an old story ; old as Shakspeare , whose managerial jealousy speaks through Bosenkrantz . The Children drew away his audiences ; for audiences were then , as now , and ever will be , gaping crowds , more curious about wonders than about art . Thus he speaks of them : — " But there is , sir , an aiery oi children , little eyases , that cry out on the top of the question , and are most tyranically -clapped for ' t : these are now the fashion : and so be-rattle the common stages ( so they call them ) that many , wearing rapiers , are afraid of goose-quills , and dare scarce come thither . " And this was in the
" palmy days " of the drama ! Later on , we have young Betty eclipsing Mrs . Siddons . The very House of Commons broke up , and adjourned the business of the nation , rather than lose a performance ! Then came Clara Fisher , whom I dimly remember ; and little Miss Poole , whom I remember very well . Authors , actors , and critics may deplore this succession of Prodigies j audiences care little so that they are hmused . That is the point . In Pliny ' s
time they ran to see an elephant dancing on a tight rope , much to that philosopher ' s contempt ; but , for my pan , I should like to see an elephant dance on a tight-rope—much more than to see '" legitimate drama'' by very " native talent , " I could name ! If a work of art is placed before me , I believe I can enjoy it ; but I do not overlook the fact , that Art is one thing , another thing Amusement ; and that people do like amusement , and will run ufter it .
My objection to the Bateman performances lies deeper ; it is a moral , not a theatrical objection . In a society which approves of Factory Children , and all other modes of exploitation by parental need , or greed , one has no right , I suppose , to be very indignant with parents who trade upon the talents and aptitudes of their infants ; but , I confess , it does seem to me to be a wicked and unwarrantable thing to bring children thus before the public . Suppose them to be taught without pain ; suppose them to attain their excellence spontaneously ; and you still have to consider the moral atmosphere in which they are plunged . If late hourn , bad air , excitement , study ,
do not rum their physical health , what is to become of their moral h ealth in this excess of stimulus — this flattery , these bravoes , these bouquets , thisunnatural ainddeleterious atmosphere of theatrical success ? They never know what childhood is ! They are forced into unhealthy precocity . Their minds and feelings are not unfolded slowly , sweetly , as the rolling years bring -cw necessities and new experiences . They are tau ght to ape the humanity which one day would be theirs ; but now never will be , for their existences arc perverted . —They are early taught to simulate the forms of impassioned existencethus to make life itself theatrical ! And these
young plants , thus fostered , prematuiely fade : the forcing kills , or stultifies them . They the worn out ; or they live poor , puny , ricketty things , with no sap of vigorous life to sustain them under the neglect into which they have fallen now they no longer amuse ! But who cures ? Is not Infant ¦ labour one of our Institutions , with which it is tyranny to interfere P
The Opera In 18 5 1. The Curtain Falls; ...
THE OPERA IN 18 5 1 . The curtain falls ; the music-books are closed ; the instruments are packed in their cases ; and the harp , that once through Costa ' s halls the soul of music twanged , is silent , huddled out of- the orchestra , passed into oblivion ! The Opera is over . You who remember my exulting passion at the first chords which smote my ravislied ear , may wonder that I should record the fact of cessation with a palled and weary joy . It is quite true , I the with
did welcome the opening of season a gusto that seemed as if satiety were impossible . Like a young bridegroom I went forth with all ray senses keen and eager . I now acknowledge that music , that language of the Gods , is capable , like all earthly visitors , of wearing out its welcome . Yet no : I must not confound the Opera with music . Music is like love , imperishable , inexhaustible ; but the Opera is love , in the person of Julia , exquisite—but exhaustible ! After that you may call me volage and inconstant , I cannot help it : truth is great and must prevail !
The truth is , then , that what with vitiated atmosphere , late hours , excitement , increase of labour , et cetera , et cetera , I felt the Opera play such tricks with my delicate and poetic organization , that I began to long for the close , and now clap my hands with languid satisfaction over the cessation of that Opera the commencement of which I saluted with such jubilant epithets . A retrospect of the season , at both Houses , will wind up for some months all my duties in that direction , and leave me free to meditate and elaborate that work on the Paralogisms of Cognition which I shall some day set before the lover of light and entertaining literature .
Covent Garden — to begin with the theatre I love best—has not deserved well of the the public in respect of novelty , but it has done more—it has given excellence . Three out of the eight promised Operas—that is queer fulfilment of programme allurements ! 'J hen , too , the orchestra has been diminished , the chorus inferior to former years . In noting these things it should also be added that , compared with her Majesty ' s , the orchestra and chorus are perfection ; they only
fall short of their own standard . Costa s conducting ' , though open to criticism occasionally on the score of time , and above all noise—especially where he ' strengthens the score with instruments never thought of by the composers—makes that orchestra and chorus first rate . There is but one note of praise sounded through the Press for his exertions . Indeed Costa makes all the difference between your enjoying or not enjoying the Opera . The works that have been most attractive have
been Meyerbeer ' s three operas , Norma , Lucrezia Borgia , and ( thanks to Tamberlik ) Don Giovanni . The Flauto Magico , in spite of the grandeur of its religious music , weaned the public , because it is wearisome . Charming as the aiis are , delicate and learned as the overture and accompaniments , the opera never succeeds ; because , except in Sarastro ' s music , Mozart is never carried away , never seems in earnest . Therefore , although
strong in cast and played to perfection , it did did not attract . Soffo signally failed—and deserved to fail , though it revealed unusual talent in the young composer . Fidelio fell , owing to the incompetence of Madame Castellan . But to my taste , the orchestra , Tamberlik , and Formes , more than made up for her inefficiency ; and 1 had no such exquisite enjoyment as on the two evenings I sat out Fidelio in that house .
The honours of the season are due to Grisi and Tamberlik . Grisi has not once been ill , and has been the support of the house . Old Stagers have been " taken aback" by her ; she seemed suddenly to have grown younger , more vigorous , more enchanting than ever . A rival Norma was set up , only , it seemed , to prove that Grisi had no rival ! Tamberlik has fairly won his spurs . No one now pretends that he is not the greatest dramatic tenor in Kurope . If Mario remains unapproachable in his peculiar line , Tamberlik has the palm in other parts ; and , moreover , Tamberlik has
taken from Mario one of his greatest parts , and surpassed him in it—Ottavio , in Don Giovanni , the grand air of which Tamberlik sings as no one in my recollection ever sang it . One point in Tumbcrlik ' H favour is his excellence as a musician . This in shown in his recitatives . It is shown also in the flexibility with which he passes from French to German and Italian music . This season he has sung Auber , Bellini , Ho . sini , Mozart , Meyerbeer , Weber , Gounod , and Beethoven . In Weber and Beethoven he may be said to have revealed the wondrous beauties of the music
Which no other singer had brought out . Mario has been ill all the season . Ronconi has played too seldom , but what he has done has been very great . Viardot has been Fides , and little more . Formes has made an immense stride ; he has splendid qualities , and , when he refines ' his style , will occupy a distinguished position . His acting is uniformly first-rate . Her Majesty ' s Theatre has been an unsuccessful speculation ; but Mr . Lumley has been prodigal of novelty . To say nothing of revivals—such as Masaniello and Gustavus , both lavishly set forthhe has produced four new operas and Fidelio Only Fidelio was a success . Le Tre Nozze , in
spite of columns of enthusiastic praise , was withdrawn after the third night ; Florinda ditto ; II Prodigo was played oftener , because the spectacle attracted ; but Zerlina was a fiasco . Mr . Lumley has been unfortunate , therefore , though generous . Then , as to his company , he had a constellation of stars , but no working troupe . Sontag , Alboni , Ugalde , Barbieri Nini , Cruvelli , Duprez , Fiorentini—seven prime donne ! and Gardoni , Calzolari , Reeves , Pardini , Poultier — five tenors ! Yet although to them were added Lablache , and Coletti , and Giuliani , not a single opera could he cast effectively . The orchestra was much st ronger this year ; but what with incessant rehearsals the chorus was seldom endurable after
Easter . Balfe ' s conducting was once or twice excellent ; but generally detestable . The great feature of the season was the Cruvelli battle . That Sophie Cruvelli has a magnificent voice , intense nervous energy , and a dashing style , nobody denies . Her Fidelio is really a / ine performance . But that she is a Malibrmi any where out of the Times and Musical World , I most emphatically doubt . There is no charm about her . There is no beaut 3 . Vehement , startling , in some senses powerful , she nevertheless always gave me the impre > sion of coarseness and hardness . In fact , I would rather not set ; her than see her—which is not
a complimentary state of mind . With her gifts she may ripen into something great , if the measureless eulogy of her great admirer—all the more dangerous because he is so excellent a critic \ wien his p ejudices are not in play—do not confirm her in her present crudity . And so farewell , " A plague on both your houses , " I am heartily sick of you and your attractions ! Vivian .
Ddrgnttnafraim Uf Tljt Jkmk T Political And Social.
dDrgmnjafnnm of tljt ^ Stnyk , POLITICAL AND SOCIAL .
—--?- Ion's Lktteh On "Patriotism A Chak...
— -- ? - Ion ' s Lktteh on " Patriotism a Chakity . "—We have received a letter signed " Massaniello , " purporting to be a reply to the article l > y " Ion" entitled " Patriotism a Charity . " The reply diverges from argument into imputation against persons , cuch as we in no case employ and can in no case allow . The tribute " Mussaniello" pays to the writer he opposes we suppress just as we suppress the questioning of motivee , and we only mention that his letter is of
two kinds to convey the impression that " Massaniello" no doubt intends fairness . " Massaniello " may rest assured that it was not Ion ' s object to convert public speaking into a " trade , ' ' which would be as baneful as its being a " charity . " There is a wide difference between the concession of a living subsistence tor patient thought and arduous work , ml the exaction of a venal price . If it Khali come to pa « s that Patriotism shall have some moderate self-sustaining value put upon it , it will come to pass
that Patriotism must include some worth in its own efforts , which is rather more than is found in the usual article passing under that name on many popular platform * . Public speaking too often ulterinites between cynicism , adulation , and antagonism . The " Massaniellos " will make many mistakes before they understand thin , nnd perhaps renew many protests before they allow it ; but , on this subject , time will be its own explainer , and the public necessity will compel n reformation which the public good ho much requires .
National Chautku Association . —At the usual weekly meeting , the Secretary intimated that Mr . Thomas Cooper hud been urging the people of Ncweastlo-on-Tyne to join the association , and atnting that he intended to join it himself ! on his return to town . The report of Mr . Jones was read . II « was at Coventry on the 2 / 5 th , where the Mayor refused him the use of the hall , on the ground that '' ho was a convicted criminal . " A large open air meeting was held . The next day ho lectured at ( Jongleton , and ou Wednenday and Thuimluy at Stockport , where ho was festively eiirertrtinml . A miccoBsful meeting in the Town Hall of liolton , followed on Friday ; and two luctures to largo audiences at Puuldhain on Sunday . On Monday l «« t ho spoke ut Wigun , From ,
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Citation
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Leader (1850-1860), Sept. 6, 1851, page 19, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/cld_06091851/page/19/
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