REVOLUTION AND OPERA.
NOT only in the political, but in the operatic world, Europe is convulsed. Perrot has been playing Masaniello, not on the stage, but in the streets of Milan : he headed a sortie of travel- lers, from the Hotel de l'Europe, on the 22d of March. His mode of combat is not stated ; but we presume that he threw himself among the soldiery and pirouetted; scattering the Aus- trians like chaff before his toe. Franca had thus anticipated Sardinia in succouring Milan. Chivalrous duties detained M. Perrot a fortnight beyond his appointed time; but Mr. Lumley will probably reap the benefit in a splendid new ballet of action representing the achievements of the new Cane della Scala ; in which the Archduke Viceroy will vainly strive to conquer M. Perrot in an alternate pas seul, and will be borne from his capi- tal standing on one leg—his Archdutchess, in a very short petti- coat, also on one leg, passant regardant—in a golden post-chaise, of form peculiar to the heaven of ballet, and drawn by specimens of the two-beaked eagle.
Tadolini, Schwartz, and Jenny Lind, have been detained at Milan, Vienna, and Kiel ; currency being refused to their notes by the disturbance of the nations. On the other hand, Liszt, elected Vice-President of the Hungarian Assembly, has left off playing upon the piano to play upon that forte, and hurl thunder- ing sonatas at Vienna. " God preserve the Emperor," indeed
The French revolution in opera is perfect anarchy. Vatel is deposed, like Louis Philippe, and cannot pay ; his receipts having sunk to a diminished fifth of what they were—all through the re- volution. The Academie Royale and the Opera National are in a disastrous state. The musical world is turned upside down. The furore just now is to hear, or rather see, Rachel sing, or rather "act," the Marseillaise ; which is said to be a very re- markable performance, but by no means in the Italian style. The English may conceive some idea of it by supposing Mr. Macready to act Rule Britannia." Mademoiselle Rachel's at- tempt at a new style of cantilena seems perfectly to satisfy the Parisian craving for a " lutte,."—every strain being in itself a complete revolution, every dominant a provisional government of the key, the expression a positive emeute. "Could I revive within me, That symphony and song,"
cries the Parisian,
" To such a deep delight would win me,
That with music loud and strong
I would build again those barricades,
Those royal homes, those domes of vice; And all who heard should see them there; And all should cry, Beware, beware His flashing eyes and smoking hair: Leave a circle round him wide, and close your eyes with holy dread; For he on gunpowder bath fed, And drank of the blood of Paris—thrice."
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