CHRISTMAS ORATORIOS.
Another great performance of the highest music was enjoyed on Mon- day evening, when Madame Goldschmidt Lind appeared at Exeter Hall in Elijah. It was in this oratorio that she sang for the last time in Eng- land before her departure six years ago, when she left behind her an im- pression never effaced during her long absence, and now again stamped more deeply than ever. By her performance in Elijah she has erected a standard of excellence by which all her rivals—if she can be said to have a rival—have been measured; and no one has been able to approach its elevation. It is inElljah. that the unparalleled combination of qualities which constitute her greatness is preeminently displayed; for besides
those which we have already endeavoured to indicate, this work brings out that dramatic genius, that command over the language of sentiment
ana passion, which formerly made her the brightest ornament of the lyric stage. It is true that no single character is given her to sustain throughout ; but there are scenes of deep interest and pathos, and she has infused the dramatic element into passages in which no one else has been able even to discern it. Thus, her appearance in Elijah, though a less brilliant display of mere voice and execution than her previous per- formance in The Creation—for the music did not demand such a display, and her voice, moreover, was slightly affected by the skyey influences of the season—was of a much grander character, and made a profounder im- pression.
The first passage in which Jenny Lind is heard is the episodic scene in which the Prophet, commanded to take refuge in the cottage of the Widow of Zarepha, restores her dead child to life. The dialogue, in the beautiful language of the Bible, is clothed in music of the most exquisite simplicity ; and its various shades of feeling were given by Jenny Lind as no one ever gave them before. The poor widow's first heart-broken expression of despair, almost apathy, while she faintly murmurs, "What have I to do with thee?' as she sees the approaching stranger—her rising gleam of hope, prompting the imploring cry, "Help me, man of God ! my son is sick ! —her agony of suspense expressed in breathless mutterings—rind the burst of mingled joy, faith, and thankfulness, with which she exclaims, "Now by this I know that thou art a man of God ! " —were all conveyed in accents so full of truth and passion that they thrilled to the heart of every one present. There is another dramatic passage to which she gave an expression unknown before—the dialogue between the Prophet and the youth set by him to watch the approach of the blessed rain which is to end the woes of the people. Her plaintive reiteration of the reply, "There is nothing !" followed by the exulting cry, uttered with eager rapidity, "Behold, I see a cloud, no larger than my hand," acted upon the audience like a great dramatic situation on the stage, and gave tenfold effect to the grand choral description of the rising storm. The air which open. the second part, "Hear ye, Israel," has always been regarded as the greatest musical feature of the oratorio, and some singers have succeeded in making it a remarkable display of vocal power. But it is Jenny Lind alone who has given full expression to the composer's meaning. The air is the voice of an angel, a heavenly mes- senger, grieving, as such a being might grieve, for the sins of the people, but speaking Ur them the language of hope and comfort. Mendeliwohn's conception of this passage is not more sublime than Jenny Lind's execution. In the beautiful concerted pieces, also representing angelic voices, she took the leading part, and imparted to them an effect given by no one else. This was particularly the case with the trio for female voices, "Lift thine eyes," and the quartet, "Holy, holy " ; both of which were rapturously encored. In singing them her voice was clothed in all its beauty ; but such was its sympathetic quality, and so sweetly did it mingle with the others, that it assumed no undue prominence, and the effect of the whole' was unspeakably charming. The oratorio was as well performed as could be expected from the re- sources at Mr. Mitchell's command at this season. The character of the Prophet ought to be the most prominent in the piece; and it demands a performer of the highest powers both vocal and dramatic. No such per- former is at present to be had in London ; and, though the task was be- yond the strength of Mr. Hamilton Braham, yet it is but justice to him to say that he acquitted himself with credit. He delivered the recita- tives, in particular, with a clear and intelligent elocution, which reminded us whose son he is. Of Miss Dolby and Mr. Lockey it may be said that there is no piece in which they appear to greater advantage. The or- chestra and chorus had been strengthened since Monday week ; and their performance showed careful preparation and able discipline on the part of Mr. Benedict.
This month of December is always marked by many performances of The Messiah—the Christian oratorio—both in London and in the coun- try. It has been given by the Sacred Harmonic Society at Exeter Hall last week and this ; it was performed by Mr. Hullah at St. Martin's Hall on Wednesday ; and we hear that it is in contemplation to give it, as one of Madame Goldschmidt Lind's performances on the last night of the year. We observe it announced, too, at several of the chief provincial towns. All this is a becoming expression of English religious feeling, and a just tribute to the memory of the greatest of all the sacred com- posers. The Exeter Hall performances were on their usual gigantic scale, but less strong than usual in solo-singers. In this respect the ap- pearance of Clara Novelle at St. Martin's Hall was of itself sufficient to give the advantage to Mr. Hullah. Clara Novelle is a great oratorio- singer—second only to Jenny Lind, and The Messiah is the greatest of her achievements. When they come on the same ground, a comparison between them is inevitable. In Elijah it has been made and the result is known. In The Messiah, to measure them together Will be more in- teresting; for there, undoubtedly, Clara Novell° will come nearer her rival's elevation. When we listened to her the other evening while she sang "Rejoice greatly," and "I know that my Redeemer livetb," de- lighted with her superb voice, brilliant execution, and grand style, we could not refrain from asking ourselves, "In what will Jenny Lind's performance surpass this ? "—a question to which, no doubt, we shall find an answer on New-Year's eve.
Mr. Hullah's performance, we may.aglei, was excellent in other respects.
Miss Palmer, the young *lsom be has brought into notice, shows evident progress. The chorus and orchestra were on a smaller scale than at Exeter Hall; but that we heitito be no disadvantage.
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