The experiment of performing Gounod's Roméo et Juliette' in French seems likely prove an enduring success, thanks to the Treat care expended by Mr. Harris on the Poduction. The work has certainly never fore been presented with the same cometeness that it was on Saturday last, every art having an able exponent, while the ounting was, on the whole, superior to at at the Paris Opéra. Unfortunately e choral prologue, with the tableau of the incipal characters, which was given for e first time, suffered by reason of the Sulty intonation of the chorus; but the new anale to the third act is a decided improvetent, though musically it is extremely simple. . Jean de Reszke is distinguished in *anner and vocally perfect as Romeo. Not Ince Mario's best days has the Covent arden stage witnessed an embodiment so fell of courtly dignity and at the same time Fenuine passion. Madame Melba as Juliet - better in the earlier part of the opera than the scenes where the tragedy deepens. he sings the somewhat ridiculous waltz hich Gounod has placed in the part of hakspeare's heroine with neatness and marm, her only shortcoming being a lack f intensity in the later portion of the drama. 'f the rest of the cast it is only necessary to Lay that M. Édouard de Reszke as the Criar, M. Montariol as Tybalt, M. Séguin s Capulet, M. Winogradoff as Mercutio, Ind Signor Castelmary as the Duke were →ll fully equal to their duties. The ensemble as singularly fine, and if anything can ejuvenate Gounod's unequal opera it will e Mr. Harris's magnificent presentation. Through the courtesy of M. Jean de Reszke, Mr. Barton McGuckin was afforded 'n opportunity of appearing in 'Lohengrin' n Monday, and fully sustained the reputaion he had made in the character during Mr. Carl Rosa's last season at Drury Lane. The unaccustomed language did not seem to Damper him, and he sang well throughout opera, and acted with becoming dignity. There was another change from the former east, Signor Castelmary appearing as the King with fair success. he Les Huguenots' was performed for the Grst time on Tuesday with an extraordinarily ine cast, even stronger than that of 'Roméo et Juliette' on the previous Saturday. Fräulein Toni-Schläger, as soon as she had recovered from excusable nervousness, showed that her Viennese reputation had been justly earned. No more capable exponent of the trying role of Valentine has appeared since the death of Tietjens. Her middle register is somewhat thin and vibratory, but her lowest and highest notes are rich and powerful, and her acting is marked by great intelligence. Of M. Jean de Reszke as Raoul, Signor F. d'Andrade as Nevers, Miss Ella Russell as Marguerite, and Madame Scalchi as Urbain, it is only necessary to say that they played their respective parts as well as usual. M. Édouard de Reszke essayed the role of Marcel for the first time, and sang magnificently. M. Lassalle as Saint Bris was also unexceptionable, and the only blameworthy feature of the performance was the excessive loudness of the orchestra, a common defect when it is under the direction of Signor Mancinelli. Very wisely the prices have been greatly reduced at Her Majesty's Theatre, as the present company is not equal to the performance of the grand works now chiefly in the favour of the public. 'Faust,' however, was tolerably well represented on Thursday week, Mlle. Zélie de Lussan showing marked improvement as Marguerite, while Signor Palermini as Valentine proved himself an able vocalist. Signor Runcio as Faust was competent as usual, but the other members of the cast were somewhat weak, and the stage arrangements were certainly below the requirements of the present day. The revival of such a hopelessly obsolete opera as Donizetti's 'L'Elisir d'Amore' on Saturday shows that the management is to some extent in the hands of the artists, and it should at once free itself from an influence which can only prove pernicious. Madame Gargano sang her trivial ditties extremely well, and Signor Vicini as Nemorino and Signor Caracciolo as Dulcamara were efficient. This is really all that need be said concerning the performance of a work that could now only prove acceptable on a small stage. Little more than formal record is necessary concerning the performance of 'Il Trovatore' on Tuesday. Mlle. Dotti as Leonora, M. Warmuth as Manrico, Mlle. Tremelli as Azucena, and Signor Galassi as the Count were all fairly equal to their duties, and the rendering of Verdi's threadbare opera appeared to give satisfaction to a numerous audience. organist or ballad composer appear on equal The industry of the compiler must have been extremely great, for his facts and dates, so far as it has been possible to test them, are surprisingly accurate. Whether it was worth while to include so many humble workers in the art who have not done, and are not likely to do, anything to save themselves from oblivion is open to question. At any rate, by reducing the number of his names Mr. Baptie might have dispensed with the abbreviations, which materially reduce the value work for purposes quick reference. Opening the book at random we find the following, which is simply exasperating: "Schumann (Dr.), Robert Alexre. b. Zwickau, June 8, 1810, d. Enderich, July 29, 1856; theor. and crit. writ., voc. and inst. comp. "Schumann (Mad.), née Clara Josephine Wieck, b. Leipzig, Sep. 13, 1819; wife of ab.; piante. and comp." Musical Cossig. SIR JOHN STAINER was appointed on Tuesday as Professor of Music at Oxford in place of the late Sir Frederick Ouseley. The feeling was, of course, universal that if he elected to offer himself as a candidate no other choice was possible, and the University is to be congratulated on an appointment which cannot fail to sustain and even enhance the prestige attaching to its musical diplomas. CONCERTS have been numerous, but nothing has been done of a nature to demand lengthy criticism. On Thursday afternoon last week there were, however, two performances of the highest class. M. de Pachmann gave his second Chopin recital at St. James's Hall, and played the Sonata in B minor, the Ballade in a flat, the Polonaise in E flat minor, the Scherzo in B flat minor, and a number of smaller items, with the exquisite touch and sensitiveness which render him the most acceptable interpreter of Chopin's works now before the public. On the same afternoon the German Lieder singer Fräulein Hermine Spies gave a vocal recital at the Princes' Hall, and more than confirmed the extremely favourable opinion formed of her capabilities at the Richter Concert in the previous week. The perfection of her vocal method, the rare beauty of the voice itself, and the command of expression which enables her to pass from grave to gay without the slightest apparent effort, proclaim her an artist of no mean order; and her rendering of vocal gems by the greatest German masters was at once a revelation and a very enjoyable experience. Miss Ethel Bauer relieved the songs with her tastefully rendered pianoforte solos, but they were scarcely needed. Fräulein Spies will give a second recital at St. James's Hall on July 2nd, and she is certain of a large and sympathetic audience. CHERUBINI'S last Quartet in a minor, a bright and genial, though not otherwise remarkable work, was performed at Sir Charles Halle's concert on Friday last week. Beethoven's Sonata in F, Op. 54, Brahms's Sonata in D minor for piano and violin (for the second time), and Rheinberger's Quartet in E flat, Op. 38, were included in the programme. On Saturday afternoon concerts were unusually numerous. At St. James's Hall Señor Sarasate appeared for the last time this season. He played Dr. Mackenzie's Concerto and Lalo's Symphonie Espagnole, and joined Miss Nettie Carpenter in a duet for violins of his own composition entitled 'Navarra.' It is not without character, but at best it can only be best regarded as a show piece. gramme were Beethoven's Symphony in F, No. 8, and the Overture to Lalo's opera 'Le Roi d'Ys.'' Ar the City of London School the students of the Guildhall School of Music gave an orchestral concert, the rendering of the first movement of Beethoven's 'Choral' Symphony and the Overture to 'Dinorah' by the orchestra of 110 performers being exceedingly creditable. Mr. Weist Hill has the faculty of impressing his own feeling concerning a composition on the performers under his direction, and this in valuable attribute in a conductor enables him to secure an intelligent rendering of even the most difficult works written for orchestra. Among the soloists, Miss Amy Porter, violoncellist, and Miss Magdalena A'Bear, mezzosoprano, were perhaps the most promising. MR. MAPLESON's operatic and miscellaneous concert at the Albert Hall was only noteworthy for the first appearance of Madame Trebelli since her recent illness. Unfortunately her return to the concert platform proved to be decidedly premature, her intonation being incorrect painfully in a duet from 'Il Trovatore,' in which she was joined by Signor Runcio. Mr. W. Carter's choir and the orchestra of Her Majesty's Theatre took part in the concert. MR. E. H. THORNE gave an excellent chamber concert at the Princes' Hall, being assisted by Signor Guerini, a capable violinist, and other artists. His programme included Bach's Concerto in D minor for two violins, Dr. Hubert Parry's Partita in D minor for violin and pianoforte, and Schumann's Quintet in E flat, Op. 44. THE annual concerts of Mr. Charles Gardner, at Willis's Rooms, and of the students of Mr. Oscar Beringer's Academy for the Higher Development of Pianoforte Playing, at the Marlborough Rooms, also took place on Saturday afternoon. A CHAMBER concert was given by the students of the Royal Academy of Music at St. James's Hall on Monday afternoon. The performances were generally characterized by a moderate degree of proficiency, no exceptional promise being evinced by any of the young pupils who took part in the programme. The choir sang Wesley's magnificent anthem 'The Wilderness with as much effect as possible, considering that 151 sopranos and contraltos were matched against 25 tenors and basses. THE principal items in the Richter Concert on Monday evening were Schubert's Symphony in cand the entire closing scene from 'Die Walküre.' The latter can only be fully appreciated by those who are familiar with Der Ring des Nibelungen,' and can, therefore, recognize the significance and beauty of the Leitmotive as they enter one upon another, and comment, as it were, upon the duologue of Wotan and Brünn hilde. Fräulein Fillunger and Herr Carl Mayer gave an exceedingly painstaking and conscientious reading of the duet, and it was received with enthusiastic applause. Schumann's 'Manfred' Overture and the Symphonic Variations in c of Dvorak were included in the programme. TUESDAY'S and Wednesday's concerts were few and unimportant, but we may congratulate the Musical Guild on the successful termination of their first series on the latter day. The perform ances of these ex-students of the Royal College of Music have been characterized by a very high degree of merit, and they are fully justified in announcing a further series next winter, for which they should secure a more central concert-room. CONCERTS, OPERAS, &c., NEXT WEEK. MON. Mrs. M. A. Carlisle Carr's Concert, 3, Princes' Hall. Señor Albeniz's Second Pianoforte Recital, 3, St. James's Hall. & Collard's Rooms. Messrs. Heath-Saunders and Harold Russell's Recital, 8, Steinway Hall. Richter Concert, 8.30, St. James's Hall. Royal Italian Opera, 8.30, La Traviata.' TUES. Canon Barker's Concert, 3, St. James's Hall. Miss Von Levetzow and Mr. Ivan Watson's Recital, 3, Steinway Mr. W. Ganz's Annual Concert, 3, Dudley House. Miss Isancson's Concert, 3, Princes' Hall. Mile. Le Brun's Matinée Musicale, 3, 47, Gloucester Square. Herr Emil Bach's Concert, 8, St. James's Hall. Misses Nellie and Kate Chaplin's Concert, 8, Princes' Hall, Trinity College Students' Concert, 8, Princes' Hall. Her Majesty's Theatre, 8.30, Rigoletto.' Royal Italian Opera. WED. Mr. De Manby Sergison's Concert, 3. Princes' Hall. = Royal Italian Opera, 8, Carmen." Hall. M. Jules Holländer's Concert, 8.30, Steinway Hall. THURS. Mr. Richard Blagrove's Annual Concert, 3, Steinway Hall. FRI. SAT. = Concert in Aid of Princess Frederica's Convalescent Homes, 3, Princes' Hall. Royal Italian Opera. Madame Cellini's Concert, 9, St. James's Hall. Sir Charles Halle's Last Chamber Concert, 3, St. James's Hall. money bags are inadequate to repair his fortunes. Happily for him, his wife thinks him worse than he is. When, accordingly, on the point of returning to Australia, she finds him able to acquit himself of a charge of seduction and desertion, she forgives him, and all ends well. Familiar as all this is, it would not be ineffective but for one or two defects. In the first place, it is preachy. Mr. Buchanan insists on his views, and his didactic speeches are not only insincere, but dull. Some of the speeches he assigns his characters are whimsically extravagant, and the eulogium he pronounces on what the late Mr. Friswell elected to call "a soiled dove" is preposterous. All that this woman has done to justify commendation is to explain that one man and not another has been her seducer. In other scenes Mr. Buchanan, for the sake of giving actuality to what is a thesis as much as a play, introduces all the vulgarities of speech which frequenters of certain haunts and members of certain clubs are said to employ. Not a degraded form of speech does he spare us. "Oof" birds, games of "spoof," such expletives as "Great Scott!" and similar ribaldry or drivel are introduced into a play which has no element of farcical comedy. What purpose this is intended to serve or what aspects of recognizable life it embalms we are unable to say. It is, at least, unworthy. In one or two scenes Mr. Buchanan assigns his heroine some good lines denunciatory of modern shallowness and hypocrisy, and contrasting the man of the colonies with the so-called gentleman of the town. These, admirably spoken by Miss Winifred Emery, caught the public, and lifted the whole into success. Miss Marion Lea has a detestable part of an intriguing widow given to advocate the latest views as to the social enfranchisement of her sex. Mr. Arthur Wellesley's Matinée, 3, St. James's Hall (Banqueting Mr. Thomas Thorne enacts with earnestness Royal Italian Opera. Mr. John Thomas's Annual Concert, 3, St. James's Hall. Mr. Max Heinrich's Concert, 3, Princes' Hall. Royal Italian Opera. DRAMA THE WEEK. VAUDEVILLE.-Afternoon Performance: 'The Old Home,' STRAND. Esop's Fables,' a Farcical Comedy in Three Acts. By J. P. Hurst. Drama in Three Acts. By Robert Buchanan. a and vigour a rough colonial; and Mr. Cyril Maude plays a difficult character as a specimen of the latest form of jeunesse cuivréethe term dorée cannot be applied. Mr. Garthorne, Miss Edith Bruce, Miss Fanny Robertson, and Miss Ella Bannister take part in an interpretation which, when the actors are familiar with their work, will leave little to be desired. No direct reference is there in the new piece of Mr. Hurst, which on Wednesday at the Strand was the victim of extreme and not wholly merited hostility, to the famous Greek fabulist. Esop Brooke, the hero of the piece, though a confirmed coward and a victim to chronic derangement of liver, is compelled by a ruse of his friend Horace Rudderkin to pass for a hero. For the fables narrated concerning him he is in no sense responsible. Some idea underlies a plot which is not more preposterous than that of farcical comedy in general, some comic scenes are brought about, and the whole, though trifling, might perhaps under less untoward conditions have escaped condemnation. Thisisthe more easily conceivable since the acting generally was very droll, and in the case of Mr. Penley and Miss Alma Stanley excellent. A curious misinterpretation on the part of the gallery-who failed to see that false notes in a song given by MR. BUCHANAN's new drama is so far an apologia that it is a vindication of the views of modern society and some forms of modern teaching which Mr. Buchanan has been moved to put forward in letter form. It tells in a conventional manner commonplace story, it has a certain measure of interest, and is spiced with some of the most malodorous slang of the day. Its story, not wholly unlike that of 'The Profligate,' even more nearly approaches that of Le Gendre de Monsieur Perrichon.' Sir Charles Fenton, a dissipated and silly, but not wholly corrupt baronet, has espoused for her money the daughter of Septimus Porter, a rich Australian. Once safely married he resumes his dissipations; introduces into his house fashionable friends, who, while he is making love to Mrs. Waldegrave, a former "flame," seek to corrupt his wife; resumes a career of gambling; and is so generally reckless that the Australian | two competent musicians were intentional, and not involuntary, and who resented as incompetence what was, in fact, cleverness perhaps misplaced-brought calamity, and the novelty fell, most probably not to ris again. Gramatic Gossip. MADAME GUNDERSEN, the Mrs. Siddons of ti Norwegian stage, who, besides having play the chief parts of Shakspeare and Goethe, ba created the most important roles in Ibsen's att Björnson's dramas, is at present in Londer accompanied by her colleague Miss Reimers who has played prominent parts in the Scat navian drama. They have been visiting London theatres, and attended a morning pe formance of 'The Doll's House.' IBSEN'S latest play is about to be published b Mr. Fisher Unwin. 'Fruen fra Havet' has bee translated by Eleanor Marx-Aveling with the consent of the author, and is likely to be pt duced shortly in London. A HITCH has occurred in the relations betwee the management of the Gaiety and Mada Sarah Bernhardt, in consequence of which th appearance of the tragedienne at the Gaiety not to be anticipated. It is probable, howeve that she may, in the course of next mom, appear at the Lyceum, in which case she w it is anticipated, play Lena Despard in a Fren version of As in a Looking-Glass.' THIS evening, for the benefit of the Acten Benevolent Fund, Mr. Irving appears at the Lyceum as Mathias in 'The Bells,' Mr. Toch plays John Grumley in 'Domestic Economy, Mr. Sims Reeves is announced to sing, ani M. Coquelin gives a monologue. MRS. STEPHENS will take at the Shaftesbury Theatre, on the afternoon of July 9th, a fare well benefit, and will sustain a part in 'Truth, the second act of which will be given. In her own line Mrs. Stephens will leave behind her no equal. 'DONELLAN,' by Lieut. Col. P. R. Innes, pro duced last week at an afternoon performance & the Strand, tells a dramatic story in an inexper enced fashion. Its leading incident is true. C Innes has, however, burdened his piece w needless dances and so forth, and his opecia scenes are slow and ineffective. Miss Emmel son, Miss Maude Elmore, Mr. Luigi Lablante and Mr. Forbes Dawson played the prince characters. 'A BROKEN SIXPENCE' is the title of the act play by G. Thompson and K. Sinclair, w has been added to the bill at Toole's Thes It is one of the many works founded on A Robin Gray,' and is fairly pathetic. Mr. C.M Lowne plays the hero, who, after being repor heroine are still chiming. Mrs. Thomps dead, returns while the wedding bells of t shows tenderness as the heroine. Other par are assigned to Miss Eva Moore, Miss Mar Brough, and Mr. C. E. Wilson. 'PHYLLIS,' a new drama by Mrs. Hodr Burnett, will be played at the Globe on t afternoon of Saturday next. Miss Alma Mur Miss Rose Norreys, Mr. Conway, and Mr. Ca ley will take part in the representation. In consequence of the success that has attend 'The Doll's House,' this piece of Ibsen's will A repeated for the week or two during which t permit of her remaining. Australian engagements of Miss Janet Acho For the benefit of Mr. Madison Morten the 2nd of July at the Haymarket, 'Lond Assurance' will be given, with Mrs. Berts Beere, Miss Kate Rorke, Mr. Beerbohm T and Mr. Thorne in the principal parts. TO CORRESPONDENTS.-C. A. W.-E. W.-8. B.M. P.-R. C. M.-R. M. W.-G. B. P.-H. H. 8.-Д. С. А. С. С. W.-received. No notice can be taken of anonymous communications h Just published, small 4to. cloth, gilt top, 213. CLARENDON PRESS NEW AND STANDARD BOOKS. NEW BOOKS. 2 vols. 8vo. cloth, 21s. HRONICON GALFRIDI le BAKER de SWYNEBROKE. LOGIC; or, the Morphology of Knowledge. 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