TIIE PRINCE'S THEATRE.

THE state of our Lyric Drama at this time offers a curious sttbject for investigation; on which the attempt now made to revive it would tempt us to enter at some length did our limits allow. We must, however, content ourselves with a few remarks suggested by such a brief review of its history as may serve in some degree to guide the course of those who have now adventured on the novel enterprise of giving the English Opera a home and a habitation of its own. Experience is one guide to success, and it is well to inquire how it has aforetime been won or lost : the manager of an English opera-house who has not carefully studied the history of the English opera, enters on his path destitute at least of a valuable portion of light, and therefore liable to errors which expe- rience might teach him to avoid. It is often asserted, that, supreme as the English have been in every kind of dramatic writing, they have never exhibited any genius for the lyric drama. This sort of' talk; however boldly arid frequently repeated, is, nevertheless, contradicted by the evidence of facts. For what is the testimony of history ? That the dramatic music of no nation possesses the same degree of vitality as that which our country has produced. Loen's music in Macketh—PeucE ten's songs and choruses in The Tempest—AnNE'S Comas, Artanny es, and Love in a Village—LINLEY'S Duenna—Mnurx's Bullock, Quaker, I.Vaterman—STonAcE's Siege if Belgrade, No Song no Supper—to mention no other pieces, are so many examples in point, which, extending over two centuries, still retain occasional possession of the stage and of the public ear. This prolonged existence belongs to the dramatic music of no other country. The con- temporaneous operas of Italy and France may be found in the libraries of collectors, but nowhere else. The opera of Germany (that is, of operas written in the German language and set by German composers) bad no existence till after the time of ARNE. Be it also remem- bered, that while other nations contented themselves with mere imitations of the plan and model of the Italian opera, that of England, under Puttee:tie assumed a character wholly independent. It discarded the unceasing employment of recitative ; it associated music with the scenes of every, day life, and became the rule which subsequent and the most celebrated German composers, when writing in their own language, agreed to adopt. Originality, vigour, and vitality, are therefore eminently conspicuous in the progress of our national opera. And whatever of excellence it possesses has been attained in despite of every obstacle that composers could have to encounter. The first of these has been the want of a theatre appro- priated to the performance of operas and under the guidance of a mu- sician. The painter and the poet dismiss their works complete and entire to public inspection : the musician lives, acts, moves, only at the will of others. An opera unrepresented is practically an opera non- existent: and from the time of ellIBER and BETTERTON to that of KEMBLE and Macanativ, the history of the stage records only the struggles, often wholly ineffectual, of the English composer to obtain entrance into the Metropolitan theatres. Two short intervals only occur during this long period during which a musician exercised any control over the management of either ; and these were at once the bright times of English dramatic music and most profitable ores to the patentees. Every other European nation, every little state, meanwhile, had its opera-house—its vocal and instrumental corps—its composer and director. Yet, under all disadvantages, our writers for the stage fought their way to popularity and fame. ARNE, even contendiug against HANDEL, produced compositions which not only, to use BUR- NEY's expression, "were sung throughout the kingdom and formed an wra in our musical history," but which have outlived the operas of his great rival. Such is the testimony of history. Nor regarding the talent of our living composers shall we have any reason to feel humbled by comparing them with that which appears in other nations. We have no desire to join in the common cuckoo cry of " patronage for native talent," because it is too often used flw selfish and paltry purposes : " patronage for real talent of all kinds," we would rather say—native or foreign. On behalf of those English composers or singers who really possess it, we disclaim all these supplications flat sympathy—these exhortations to charity in behalf of" the poor frozen- out" composers. We take the only proper and tenable ground; and, regarding the produce of English art simply as art, and without refer- ence to country, we chains for it a high though not the highe-4 place in the dramatic music of the present age. Measuring the English operas of the present time by this standard, we assign to Bontop a higher ele- vation than any dramatic composer of Italy or France. Of Ban:surfs Mountain Sylph it may be safely affirmed, that only a single German writer has evidenced higher capability in this department of his art. BALTE is at least the equal of any of his Italian contemporaries: and others are not wanting who have given abundant evidence of talent for dramatic composition. Our late lamented friend EGERTON WEBBE wrote the most perfect specimen of the English Opera Butra we ever saw— the dialogue pregnant with humour, and the music with genius : one,

doubtless, of many " flowers born to blush unseen"; one of the many efforts of musical genius which have vainly sued for entrance into our theatres.

England, therefore, has now, as in days past, men able to sustain the reputation of the national lyric drama. The materials exist: it remains that they be judiciously used, fled the public must decide the rest. The first duty of the manager will he the choice of good operas ; the second, and scarcely less important one, their effective, and, as far as possible, perfect performance. Perhaps the first thing that both manager and public seek is novelty, but this is not all. Let new operas be produced, but let old ones also be revived. An opera which thirty years ago at- tracted nightly crowds, can hardly 1.w vaid to be an experiment if repro- duced. If its story interested, it' its melodies pleased and became popular, they Mill do so Ilotr. There is no vestion but the -toegs of PURCELL and ARNE contributed their full share to the popularity of 7'he ,npest at its last revival ; and some of the beautiful airs in The Beggar's Opera have the same charm for the present generation as for that of a century ago. Operas of even a more recent date may reed similar alteration and adaptation to the present state of instrumental accompanhoent ; and there now exists the power of producing those with a degree (.1' finish and perfection which, from various causee, were formerly unattainable. The opening of a theatre in the Mentopulis, under the direr' ion of un accomplished nod experience 1 musician, for the purpose of performirg English Operas, s' no a fitting season to hazerd these remarks. We need not asssere Mr. Pew:ten of our best svishes for his success. Aware of the din:111th, of his position, and of many of the obstacles from withia and witheut which he will have to encounter, we are quite disposed to make any allowance fiw these, anti to regard his exertions with a favourable eye. It' he knows any thing of our habits, he will expect approbation wheuever it can be henestly given—though only then, The theatre opened on Thursday night, to a full and favourably dis- posed audience, with an excellent °Nino-net, led by JOIIN Lomat, and a company of able singers. Miss Homent, Miss Comeere, (an eecellent singer and a clever autress,) nineties anti Fliasee, were the prin- cipals in the opera with sv hielt the seeson common:tett NeN ert10less, it began most inauspiciously. With ell the operas of the English school to choose front, one of the fitebleet nod most abortive attempts at dramatic composition we ever witnessed, was produced—under the title of Fridolia. The story, taken from t-ttnt manes poem, and perhaps more generally known in England l by Heats/Ifs ssoverful outlines, might furnish materials for a good opera ; but. this is 's task which eertlinly re- mains to be accomplished. Neither the poet BOY 1112 01051 ricstt underetand their business. They are two learners who have not yet proceeded far enough in the rond of' knowledge to be conscious of their own ignorance. They know not wItero, how, ntt I whenoeusie call be properly and effec- tively employed at:a dramatic apent. The faults in the libretto are irre- mediable, anti sech as no mesi eel skill (multi have overcome. To Mr. Roam, the jteetnile composer, peoltehly they were not apparent ; nor, in teeth, was their existence matter of much moment, as no libretto could have compensated for the poverty of his music ; which teas cor- rectly described ill the Chtonirl, a " deetitute of veriety,

character, and expression." We hardly know which to admire the most—the conceit of a raw and unpractised student in presenting such a mass of crudities to the publie, or the folly of the manager in sanc- tioning such au ettempt.

After what we have said 5th 'cc''. all the world knows of Ban- reveres musical talents, this itteten me it to be explained. Miss

llostEn, it seems, conditioned for tie, • ...,•tion of' her brother's ni.,.ra;

and BA ue err select iee 1 e, tic; cci•• • we think, most um; why.

He has damaged lds t'le very outset : ae.1 for what ? 55 'V.' !!,„.;;;:!? • ; rather to expose his in-

- Sech complianess with

ct loin, epiti,it;itinctete.,,

t.tessery as they ere un- wise. Let het 0 'c.S'Iclec'r I I ,seif in the right, to do eel to himself; and, ill justice to ell ;,,

the long run. 1. le may be all lloyed.

for a fe 1...- 1: ts, but the town will be with him, no possible plea for this senses n.• ten the part of the mauager, siree I. nee elst .t ...menus. NO ,ther theatre even e • ends to 11.; is the only shop, and eitte • t a want (el Tice enter t.'. 'touts of the 1lcd by an eddress naen a part

This all Soul..iS , 011gllt to have betet some talent aid establiAlea fame : 1cc.. strength resulting from " tyro. We regret this ro.ret- 0 :0 eommenee.•!ent of an

important and it.' set to IsIve witnessed such a dispisy ie.' Ena fish opera ; and

if we lucre used orle. - ana the ',recess of' its birth, it is 10 11 ,••,•:;wy 10 it sliould

be made aware 1h a fully they is pap; te :t.: I the injury they have inflicted.

The COstutcccc' ccl cccliii lec,...ssorivs were stresque end appro- priate, and the ,.tegentrrangemeuts of' the nee te migelneSt complete and effective: Nve tic.night we perceived one -managers among

the chorus—only conspicuous, Itewever, Iti-t aeting. Such zeal

evinces the true nrtistical feeling; anti ire ISO!..' it will its future be exerted on deserving objects. A pleasant little afterpiece followed r, in the representation of which the saute attention was hown to stage-propriety, spoken by s, te;:tely, of ‘s 1,i, At leogni, wit 7 I.

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