THE GERMAN OPERA.
THESE words mark an important era in ourmusical history. Upon the fallen grandeur of the Italian Opera, will be erected the proud -trophies of MOZART, WEBER, and SPOHR. We class these names together; for the operas of Mozsitr, although chiefly written in the Italian language, are of pure German growth, and by the pre- sent race of Italian singers they are unapproachable. Of all Mr. Masost's Italian company, DE MERIC is the only one who pos- sesses any knowledge of them. The rest have been trained in a different school, if school it can be called in which PACINI and DONIZETTI are held up as models. For the performance of Mossier's operas, therefore, we must henceforth look to Germans and English, as u ell as those of his illustrious successors.
The German season began on Wednesday night, and Der Frei- vchiitz was selected to open with. The house exhibited an un- usual appearance. The pit was filled chiefly with men—with
• listeners, not loungers. Of these, a considerable portion were Gemsans ; and among the English auditors, we remarked many professors, especially those connected with the theatres. As the Orchestra began to fill, we observed that it was essentially dif-
ferent from that of the Italian Opera. SPAGNOLETTI was there; but LINDLEY, DRAGONETTI, NICHOLSON, WILLMAN, HARPER, and some others, were employing their talents in amusing the two or three score of venerable ladies who attend what are called the Ancient Concerts. Still the Orchestra was an efficient one : we regretted, on such an occasion, the absence of these eminent artists, but we had no reason to complain of those who filled their places. The arrangement of the Band was new. The Conductor with his baton, instead of sitting at the pianoforte, stood on a con- spicuous elevation, seeing and seen by every person in the orches- tra. The Leader's usual place was occupied by the principal Vio- loncello and Double Bass, while he was placed in their accustomed situation.
The Overture commenced amid the profoundest silence ; it was admirably played ; and, at its close, such a peal of applause fol- lowed as rarely vibrates through the walls of the Operahouse. When the curtain rose, we seemed at once transported to the Theatre at Munich : the square Bavarian countenances of the group of jagers and peasants could not be mistaken, and the first Joyous burst of the chorus was perfectly electriCal. Every indivi- dual on the stage (and there were about forty) seemed as if he or she had an important part to sustain; they all acted as if they were principals, combining with ease and animation, the most per feet discipline and unerring precision. It NI as the best theatrical chorus-singing, in fact, that we ever heard in England. Every piano, forte, Vorzando, was scrupulously observed; and the re- sult of that unwearied labour which the Germans are accustomed to direct to whatever is the object of their attainment, was most successfully displayed. They know better than to perform an opera with a single stage rehearsal. The same remark will apply to the principal singers. There was no apparent consideration of self in any of them—no showing off at the expense of time, tune, and taste ; but all seemed to thro-.v their exertions into one com- mon stock, and to regard only the general effect of the piece. They esteem such a composer as WEBER a sort of divinity, whose work it is their duty and their pride to set forth in all its beauty and grandeur, and this sentiment overcomes every merely personal feeling. • Madame DE MERIC was the only singer at all known to an English audience, and the extent and versatility of her talents could not have been appreciated without the performance of this opera. She is the best representative of Agatlie we ever saw : it was, throughout, excellent, but her performance (acting as well as singing) of the grand Scena most excellent. Mrs. `'Noon is always thinking too much of herself and too little of her author. The critic in the Times discovered that DE MEMO'S pronunciation of German was incorrect ; which he accounted for by imputing it to her ignorance of the language. This is rather singular, seeing that she is a native of Germany, and spent all the early part of her life there. Critics should beware how they venture out of their depth. Mademoiselle ScHNEIDER, who was the Annchen, is a very pleasing singer, and a clever actress. The duet between her and Madame DE MERIC was charmingly sung, and loudly encored. HAITZINGLER was the Max—our Rode/ph. He has a powerful and well-toned tenor voice, and went through his part like a musician. To those who have heard BR AHAM in the cha- racter, any singer must appear inferior; but in HAITZINGLER'S singincst' there is Much to approve and little to censure. PELLE- GRINI (not cur old friend, of course) was the Caspar. Without any knowledge of the fact, we put him down for a German, not- withstanding his name, real or assumed. His voice is an excellent and legitimate bass ;, and he is, altogether, the best representative of Caspar that we have seen in this country. MEIN is the worst singer among them : his tone is guttural, and his intonation im- perfect : fortunately he had little to do.
The musical Director has yet to redeem his pledge of giving the opera of WEBER. We approached more nearly to it on Wednes- day than hitherto, but we are still without Max's solo in the Finale to the last act, and great part of the sublime movement begun by the Hermit; even the exquisite duet in B minor, 6-8 time, being omitted. Neither do we need any interpolations; and therefore we can dispense with the song (we know not whose) in- troduced by HAITZINGLER. These are reforms which may be easily achieved. As a whole, we frankly confess, that no opera within the walls of the King's Theatre, for the last ten years, has given us equal delight; and we shared this feeling in common with the audience. It requires something more than an ordinary sti- mulus to excite enthusiasm ; but we have seldom seen an audience more awakened to enjoyment than on Wednesday night.
But now comes the question, what will be the fate of the Ita- Han Opera? What head can PACINI (a new opera by whom is announced for Saturday) make against WEBER? Above all, who will pay half-a-guinea to hear the former, when, at the same theatre, the latter may be heard for less than half that sum ?— Certainly not the Public. The Italian Opera will be, henceforth, for the Exclusives. The one is in the very decrepitude of age, the other in the vigour of youth ; the one has nothing of novelty to produce, the other every thing.
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