TlIE ENGLISH LYRIC DRAMA.
Tnn following paragraph appeared in the Morning 1' of of Thursday ; and, having made inquiry, we are happy to confirm its trials. '• Mr. Beale, of the musical firm of Cramer, Addison, and Beak, has taken Drury Lane Theatre ; his terns to commence from October next. It is in con- templation then to produce 'opera' upon a more perfect and extensive scale than has ever been attempted in this country. At present the only engage- ment completed is that of Mr Benedict, as Musical Director; which is, an com- mencement, a sign of good taste and judgment." Some of our readers may remember, that several years since we endeavoured to show the causes of the •• decline and fall" of the National Music Drama, and to point out the only course which would secure its revival. That course was the engagement of a theatre solely devoted to Opera, by a person of character and property, and the management of which should be vested in a musician of talent and experience in this particular branch of his art. These requisites are now secured; and English dramatic music may now have a chance of resurrection, and commence a new career of vigour and reputation. Looking back over the long annals of our drama, the only wonder is that the English lyric drama ever existed at all. From the time of PURCELL to that of Banos., with few brief exceptions, it has had to struggle for a hearing against the ignorance, prejudice, and sometimes determined opposition of managers. BETTERTON, FIBBER, GARRICK, KEMBLE, MACREADY, were all ignorant and re- gardless of this branch of the drama. During CIRBER'S long manage- ment, Opera was proscribed, and no dramatic composer was allowed entrance into Drury Lane on any terms. The short periods in which BEARD was manager of Covent Garden and LINLEY of Drury Lane, are those only in which music had any fair chance of success : under every other manager success has resulted from accident. Meanwhile, both the Great Theatres have been burdened with two distinct com- panies, one of which is, of necessity, idle, and therefore earning nothing, half the season. Is it then surprising, that the Opera of England has not taken rank with her Tragedy and her Comedy ; or that its light, , which rose so gloriously with PURCELL, should have suffered so speedy and so long an eclipse These primary obstacles to its prosperous career arc now removed. The name of the lessee invests the enterprise with a character of high respectability ; and of the competence of BENEDICT for his situation there cannot be a doubt. His musical acquirements are of the first order, and his experience in that department of the art which will now claim his attention, large. Nor is BENEDICT a music-monger—a mere trafficker in crotchets and quavers : he looks at his art, more than what it brings, with an eye of affection ; while to the feeling of an artist he adds the manners of a gentleman. Such a man will command the con- fidence and win the regard of all around him. He has nothing of the " humbugeous" about hint.
We need not pursue the subject further at present. It will be seen that we regard it with no ordinary interest ; and therefore we shall watch the progress of the undertaking with an anxious desire for its success. This feeling will not he manifested by indiscriminate puffs, but by that tone of just and unfettered criticism which we have always endeavoured to adopt. Our sole allegiance is due and is given to the art.
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