John Braham’s Annual Benefit Concert
London: Theatre Royal, Covent Garden—Time: Evening
Boxes available
Programme
| Opera, The Slave | Governor: Mr. Blanchard; Capt. Clifton: Mr. Duruset; Capt. Malcolm: Mr. Braham (first time); Lindenburg: Mr. Serle; Mathew Sharpset: Mr. Jones; Sam Sharpset: Mr. Rayner; Cambia (the Slave): Mr. Cooper; Somerdyke: Mr. J. Isaacs; Provost: Mr. Atkins; Planter’s Boy: Master Longhurst; Fogrum: Mr. Keeley; Office: Mr. Henry; Jailer: Mr. Barnes; Stella Clifton: Mme Vestris (first time); Mrs. Lindenberg: Mrs Vining; Miss Frump: Mrs Davenport; Zelinda: Miss Paton (first time) | Bishop |
| Glee, ‘Blow, gentle gales’ | Mr. Braham | |
| Air, ‘Kelvin Grove’ | Mr. Braham | |
| Cavatina, ‘I’ve been roaming’ | Mme Vestris | C. Horn |
| Song, ‘Pretty mocking Bird’ | Miss Paton | |
| Trio and Chorus, ‘If in this dread hour’ | Miss Paton, Messrs. Braham, Duruset, Chorus | |
| ‘The March of a Soldier’ | Mme Vestris | |
| Duet, ‘When thy bosom heaves the sigh!’ | Miss Paton, Mr. Braham | |
| ‘Wellington’ | Mr. Duruset | |
| ‘The World’s Seven Wonders’ | Mr. Duruset | |
| ‘A man’s a man for a’that’ | Mr. Braham | |
| ‘We’re a ‘noddin’ | Mme Vestris | |
| Ballad, ‘Blue Bonnets Over the Border’ | Mr. Braham | |
| ‘Sons of Freedom’ | Miss Paton | |
| ‘Death of Nelson’ | Mr. Braham | |
| ‘Cherry Ripe’ | Mme Vestris | |
| Duet, ‘All’s Well’ | Mme Vestris, Mr. Braham | |
| Finale, ‘Freedom’s Isle’[1] |
| IN APOLLO’S FESTIVAL |
| ‘By the gaily circling glass’ | Mr. Braham | |
| Trio, ‘When shall we three meet again’ | Messrs. Braham, Duruset, J. Isaacs | |
| ‘The Sapling Oak’[2] | Mr. Isaac | |
| Glee, ‘The Three Crows’ (first time) | ||
| Duet, ‘Ally Croaker’ | Mme Vestris, Mr. Braham | |
| Duet, ‘Goosey Gooesey Gander’ | Mme Vestris, Mr. Braham | |
| ‘Black ey’d Susan’[3] | Miss Paton | |
| Song, ‘Smile again my bonnie lassie’ | Mr. C. Bland | Parry jun. |
| Song, ‘Cupid’s Hobby Horse’ (poetry by Lady Clarke) | Mr. Braham | |
| Glee, ‘Mr. Speaker, tho’ `tis late’ | ||
| Piano Fantasia, The Recollections of Ireland with Orchestral Accompaniments | Mr. Moscheles | Moscheles |
| ‘Ar hyd y nos,’ with Variations on Double Flageolet and Harp | Mr. and Master Parry | |
| Overture, The Ruler of the Spirits | Weber | |
| Farce, High Life below Stairs | Lovel: Mr. C. Kemble (for this night only); Freeman: Mr. Baker; Philip: Mr. Evans; Duke’s Servant: Mr. Jones; Sir Harry’s Servant: Mr. Farley; Mrs. Kitty: Mrs. Gibbs; Lady Charlotte’s Maid: Miss Henry; Lady Bab’s Maid: Miss Goward; Chloe: Mrs. Wilson | Townley |
| Principal Vocalists: Miss Goward, Miss Henry, Miss Paton, Mme Vestris, Mrs. Davenport, Mrs. Gibbs, Mrs. Vining, Mrs. Wilson; Messrs. Atkins, Baker, Barnes, Blanchard, Braham C. Bland, C. Kemble, Cooper, Duruset, Evans, Farley, Henry, Isaac, Jones, Keeley, Rayner, Serle, Master Longhurst |
| Principal Instrumentalists: Mr. Moscheles, Master Parry |
| Conductor of Overture: Baron Carl Maria von Weber |
[1] Only advertised by The Public Ledger and Daily Advertiser and The Morning Post.
[2] Advertised by The Public Ledger and Daily Advertiser and The Morning Post, whereas The Theatrical Observer advertised ‘Flow thou regal purple stream’ instead, and The Examiner ‘In the low winding vale’.
[3] Advertised only by The Theatrical Observer.
———————————
Moscheles: ‘On the 18th of May…we both [Moscheles and Weber] assisted Braham in quite an original fashion: it was his annual benefit (at Covent Garden Theatre), and he, the most popular of English singers, used always on this occasion to please the ‘gods’ by singing sailors’ songs, so we had to endure a similar state of things to night. Madame Vestris, the popular singer, who appeared in the operetta The Slave, found willing listeners among the occupants of the galleries, who ruled the house, and were delighted with such nursery ditties as ‘Goosie Goosie Gander’, etc. So far so well, but Braham had calculated without his host in setting before such an audience as this good music for the second part of the concert, which he called ‘Apollo’s Festival’, and which, after the poor stuff that had been played and sung, began with the overture to the Ruler of the Spirits. Could no one see that Weber himself was conducting? I’m sure I don’t know, but the screams and hubbub in the gallery while the overture was played, without a note being heard from beginning to end, made my blood boil; in a state of high indignation, I sat down to my piano on the stage, and gave a sign to the band beneath me to begin my Recollections of Ireland. At the opening bar of the introduction, the roughs in the gallery made themselves heard by whistling, hissing, shouting, and calling out ‘Are you comfortable Jack?’ accompanying the question with volleys of orange peel. I heard the alternate crescendos and decrescendos; and fancied that in this chaos all the elements had been let loose, and would overpower me; but, thank heaven, they did not, for in this new and unexpected situation I resolved not to come to any sudden stoppage, but to show the better part of my audience that I was ready to fulfil my engagement, I stooped down to the leading violinist, and said, ‘I shall continue to move my hands on the keyboard, as though really playing. Make your band pretend to be playing also; after a short time I will give you a signal and we will leave all together’. No sooner said than done. On making my bow as I retired, I was overwhelmed with a hurricane of applause. The gods cheered me, being glad to get rid of me. Next came Miss Paton, with a scena for the concert room. She met with a similar fate. Three times she stopped singing, but came forward again, in answer to the calls of the well-behaved portion of the audience, who shouted ‘silence’. At last the poor lady went away, burst into tears, and gave it up [und trat endlich weinend mit den Worten ab: “I cannot sing”][1]. Thunders of applause followed her exit, and when common ballads and songs began afresh, the gods were once more all attention and good behaviour’.
RMM, 82-83. [1] AML I, 121.
Charlotte: ‘Moscheles was highly commended for his calmness and self-possession, while the tears of poor Miss Paton were rather severely commented upon’.
RMM, 82-83.
Letter: Ignaz Moscheles to Max Maria von Weber
Leipzig den 15. Sept. 1861
…. Am 18. Mai hatte Braham ein Benefice im Coventgarden-Theater. Morgens ließ W. [C. M. von Weber] dort seine Ouverture zum “Beherrscher der Geister” probiren. Ich probirte meine Fantasie “The Recollections of Ireland” mit Orchester. Der Abend war verhängnißvoll. Das Haus war überfüllt von einer gemischten Menge, die sich nur in einem dramatischen Quodlibet mit gehörigem Unsinn, Possen u. Volks-Melodien unterhalten wollte; daß ein Weber auch dabei persönlich Theil nehmen sollte, schien Wenigen von Wichtigkeit. Nach der Oper: “The Slave” gab Braham eine Art Potpourri, welches er “Apollo’s Festival” nannte. Als Einleitung dirigirte W. [C. M. von Weber] seine Ouverture zum “Beherrscher Geister”, schien aber von dem unaufmerksamen Theil des Publikums nicht bemerkt worden zu sein; denn unter dem größten Lärm und Gepolter der Gallerie wurde sie zu Ende gespielt und der Vorhang ging auf, ohne daß W. [C. M. von Weber] den gewohnten Zoll der Verehrung des Publikums erhalten hatte. Eben so schlimm, und noch schlimmer ging es mir, nachdem ich mein Stück (auf der Scene) angefangen hatte. Im abwechselnden crescendo und decrescendo fielen gellende Stimmen der rohen Gallerie-Besucher ein, Pfeifen, Zischen, Applaudiren mischten sich, als wären die Elemente im Streite—ich hörte das begleitende Orchester nicht mehr. In dieser mir neuen unerwarteten Lage hatte ich den Vorsatz gefaßt, nicht abzubrechen und dem bessern Theil des Publikums zu zeigen, daß ich bereit war, zu thun, was ich versprochen hatte. Ich that, als spielte ich, bewegte die Hände auf u. ab und ließ endlich durch einen Wink den Director das letzte Tutti einsetzen. Einstimmiger Applaus (leider negativ) erscholl als ich die Bühne verließ. Ein eben solcher Vorfall begegnete der Miss Paton, die so exasperirt wurde durch die schnöden Unterbrechungen des Pöbels, daß sie in der Mitte ihrer Arie ausrief: “I cannot sing”! und schluchzend abging. Die gemeinsten Gassenhauer-Lieder wurden jedoch lauschend angehört und warm aufgenommen.—Ich lege einen Zeitungsbericht darüber bei, nicht daß solche Vorfälle in Ihres Vaters [C. M. von Weber] Biographie von Interesse sein könnten, aber nur, um zu zeigen, daß auch er für seinen Freundschaftsdienst für Braham eine unangenehme Erfahrung eintauschen mußte.
[Staatsbibliothek zu Berlin—Preußischer Kulturbesitz (D-B): Weberiana Cl. V (Mappe XVIII), Abt. 4 A, Nr. 13 A.]
Advertisements
Playbill 1
Mr. BRAHAM’S
NIGHT.
—————————
Theatre Royal, Covent-Garden,
On THURSDAY next, May 18, 1826,
Will be acted, to the Opera of
THE SLAVE.
COMPOSED by H. R. BISHOP, Esq.
The Governor, Mr. BLANCHARD, Capt. Malcolm, (first time) Mr. BRAHAM,
Capt. Clifton, Mr. DURUSET, Lindenberg, Mr. SERLE, Fogrum, Mr. KEELEY,
Mathew Sharpset, Mr. JONES, Sam Sharpset, Mr. RAYNER, Gambia, (the Slave) Mr. COOPER, Somerdyke, Mr. J. ISAACS, Officer, Mr. HENRY, Jailer, Mr. BARNES, Provost, Mr. ATKINS.
Planter’s Boy, Master LONGHURST, Dutch Planters Mess. Horrebow, Ryals, Tinney,
Stella Clifton (first time) MADAME VESTRIS,
Zelinda’s Child, Miss KENDALL. Mrs. Lindenberg. Mrs. VINING, Miss Von Frump, Mrs. DAVENPORT
Zelinda (first time) Miss PATON.
After which,
Apollo’s Festival
VOCAL PIECES AS FOLLOW:
| Glee-Blow gentle gales. | WELLINGTON. | Mr. DURUSET |
| Kelvin Grove Mr. BRAHAM | The World’s Seven Wonders | Mr. RAYNER |
| “I’ve been roaming,” Madame VESTRIS | A Man’s a Man for a’ that, | Mr. BRAHAM |
| Pretty Mocking Bird, Miss PATON | We’re a’ Noddin, | Madame VESTRIS |
| Trio and Chorus, “If in this dread hour,” | BLUE BONNETS, | Mr. BRAHAM |
| Miss PATON, Mr. DURUSET & Mr. BRAHAM | SONS of FREEDOM, | Miss PATON |
| The March of a Soldier, Madame VESTRIS | Death of Nelson, | Mr. BRAHAM |
| When thy bosom, Miss PATON & Mr. BRAHAM | CHERRY RIPE, | Madame VESTRIS |
| DUET- – – ‘ALL’s WELL,’ Madame VESTRIS and Mr. BRAHAM |
Finale—‘Freedom’s Isle.’
In Apollo’s Festival.
| ‘By the gaily circling Glass,’ Mr. BRAHAM, |
| ‘When shall we three meet again, Mr. C. Bland, Mr. Duruset, & Mr. J Isaacs |
| Song, Mr. J. ISAACS, ‘Flow thou regal purple streem.” |
| GLEE, First time (Comic) The Three Crows. |
| Duets—ALLY CROAKER—and—GOOSY GOOSY GANDER. |
| By Madame VESTRIS and Mr. BRAHAM, |
| BLACK EY’D SUSAN, (for this night only) Miss PATON. |
| Smile again my bonnie Lassie, Mr. C. BLAND. |
| An Irish Comic Love Song, (the Poetry by Lady Clarke) called |
| CUPID’s HOBBY HORSE, Mr. BRAHAM. |
| Glee—‘ Mr. Speaker, tho’ ’tis late.’ |
Mr. MOSCHELES
Has in the kindest manner offered his services—He will play his last celebrated Composition, called
The Recollections of Ireland.
“Arhyd y nos,” with variations—DOUBLE FLAGEOLET and HARP,
Mr. and Master PARRY.
Mr. WATSON will preside at the Piano-Forte.
AND THE
Baron Carl Maria von Weber
Will direct his far-famed OVERTURE of
THE RULER OF THE SPIRITS.
To conclude with the Farce of
High Life below Stairs
Lovel, – – Mr. C. KEMBLE,
Freeman, Mr. BAKER, Lord Duke’s Servant, Mr. JONES, Sir Harry’s Servant, Mr. FARLEY,
Philip, Mr. EVANS, Coachman, Mr. ATKINS, Robert Mr. Mears, Tom Mr. Ley, Kingston Mr. Heath
Mrs. Kitty, Mrs. GIBBS, Lady Charlotte’s Maid, Miss HENRY,
Lady Bab’s Maid, Miss GOWARD, Chloe, Mrs. WILSON, Cook, Mrs. HUDSON.
A MOCK MINUET by Mr. JONES and Mrs. GIBBS.
The Public is respectfully informed, that, in consequence of the coming Benefits, and other arrangements, Mr. WEBER’s popular Opera of OBERON can only be acted Tomorrow, in this week.
The New Farce of THREE DEEP, will be repeated on Saturday.
Tickets and Places to be had of Mr. BRAHAM, 69, Baker-street, and at the Box-Office
Printed by W. Reynolds, 9, Denmark-court Strand.
[GB-Lbl Playbills 100]
Playbill 2
Mr. BRAHAM’S NIGHT.
—————————
THEATRE ROYAL, COVENT-GARDEN.
This present THURSDAY, May 18, 1826—will be acted to the Opera of
THE SLAVE.
COMPOSED by H. R. BISHOP, Esq.
The Governor, Mr. BLANCHARD, Capt. Malcolm, (first time) Mr. BRAHAM,
Capt. Clifton, Mr. DURUSET, Lindenberg, Mr. SERLE, Fogrum, Mr. KEELEY,
Mathew Sharpset, Mr. JONES, Sam Sharpset, Mr. RAYNER, Gambia, (the Slave) Mr. COOPER, Somerdyke, Mr. J. ISAACS, Officer, Mr. HENRY, Jailer, Mr. HORREBOW, Provost, Mr. ATKINS.
Planter’s Boy, Master LONGHURST, Dutch Planters Mess. Mears, Ryals, Tinney,
(first time, and for that night only) MADAME VESTRIS,
Zelinda’s Child, Miss KENDALL. Mrs. Lindenberg. Mrs. VINING, Miss Von Frump, Mrs. DAVENPORT
Zelinda (first time) Miss PATON.
After which,
Apollo’s Festival
VOCAL PIECES AS FOLLOW:
| Glee-Blow gentle gales. | The World’s Seven Wonders | Mr. RAYNER |
| Kelvin Grove Mr. BRAHAM | A Man’s a Man for a’ that, | Mr. BRAHAM |
| “I’ve been roaming,” Madame VESTRIS | We’re a’ Noddin, | Madame VESTRIS |
| Pretty Mocking Bird, Miss PATON | BLUE BONNETS, | Mr. BRAHAM |
| Trio and Chorus, “If in this dread hour,” | SONS of FREEDOM, | Miss PATON |
| Miss PATON, Mr. DURUSET & Mr. BRAHAM | Death of Nelson, | Mr. BRAHAM |
| When thy bosom, Miss PATON & Mr. BRAHAM | CHERRY RIPE, | Madame VESTRIS |
| DUET- – – ‘ALL’s WELL,’ Madame VESTRIS and Mr. BRAHAM |
Finale—‘Freedom’s Isle.’
In Apollo’s Festival.
VOCAL PIECES AS FOLLOW:
| ‘By the gaily circling Glass,’ Mr. BRAHAM, |
| ‘When shall we three meet again, Mr. C. Bland, Mr. Duruset, & Mr. J.saacs [sic] |
| Song, Mr. J. ISAACS, ‘In the low winding vale. |
| Glee, First time (Comic) The Three Crows, Mess. Braham, Duruset, & Tinney |
| Duets—ALLY CROAKER—and—GOOSY GOOSY GANDER. |
| By Madame VESTRIS and Mr. BRAHAM, |
| BLACK EY’D SUSAN, (for this night only) Miss PATON. |
| Smile again my bonnie Lassie, Mr. C. BLAND. |
| An Irish Comic Love Song, (the Poetry by Lady Clarke) called |
| CUPID’s HOBBY HORSE, Mr. BRAHAM. |
| Glee—Mr. Speaker, tho’ ’tis late.’ |
Mr. MOSCHELES
Has in the kindest manner offered his services—He will play his last celebrated Composition, called
The Recollections of Ireland.
“Arhyd y nos,” with variations—DOUBLE FLAGEOLET and HARP,
Mr. and Master PARRY.
Mr. WATSON will preside at the Piano-Forte.
AND THE
Baron Carl Maria von Weber
Will direct his far-famed OVERTURE of
THE RULER OF THE SPIRITS.
To conclude with the Farce of
High Life below Stairs
Lovel, – – Mr. C. KEMBLE,
Freeman, Mr. BAKER, Lord Duke’s Servant, Mr. JONES, Sir Harry’s Servant, Mr. FARLEY,
Philip, Mr. EVANS, Coachman, Mr. ATKINS, Robert Mr. Mears, Tom Mr. Ley, Kingston Mr. Heath
Mrs. Kitty, Mrs. GIBBS, Lady Charlotte’s Maid, Miss HENRY,
Lady Bab’s Maid, Mrs. WILSON, Chloe, Mrs. BROWN, Cook, Mrs. HUDSON.
A MOCK MINUET by Mr. JONES and Mrs. GIBBS.
The Public is respectfully informed, that, in consequence of the coming Benefits, and other arrangements, Mr. WEBER’s popular Opera of OBERON can only be acted Tomorrow, in this week.
The New Farce of THREE DEEP, will be repeated on Saturday.
Tomorrow, (28th time) OBERON.
With (3d time) the melo-Drama of ROBINSON CRUSOE.
On Saturday will be produced a NEW PLAY, in five acts, called
WOODSTOCK.
(Founded on the popular Novel of that name.)
The characters by Mr. C. Kemble, Mr. Serle, Mr. Cooper, Mr. Egerton, Mr. Jones, Mr. Blanchard,
Mr. Evans, Master Longhurst, Mr. Warde, Mr. Chapman, Mr. W. Farren,
Mrs. Chatterley, Miss Jones, Miss J. Scott, Mrs. Hudson.
The Prologue to be spoken by Mr. COOPER, The Epilogue by Mrs. CHATTERLEY
Printed by W. Reynolds, 9, Denmark-court Strand.
[GB-Lbl Playbills 100]
Public Ledger and Advertiser (May 4, 1826): 1.
Mr. BRAHAM’s NIGHT.
THEATRE ROYAL. COVENT-GARDEN
MR. BRAHAM has the honour of announcing to the Public, that his NIGHT is fixed for THURSDAY, the 18th Instant; when a FAVOURITE OPERA, and other MUSICAL ENTERTAINMENTS, will be performed.
Tickets and Places for the Boxes to be had of Mr. Braham, 69, Baker-street, Portman-square; and at the Box Office, Hart-street.
The Morning Post (May 5, 1826): 1.
MR. BRAHAM’S NIGHT.—THEATRE ROYAL COVENT-GARDEN.—Mr. BRAHAM has the honour of announcing to the Public that his Night is fixed for Thursday, the 18th of May, when a favourite OPERA and other MUSICAL ENTERTAINMENTS will be performed. Tickets and Places for the Boxes to be had of Mr. Braham, 69, Baker-street, Portman-square; and at the Box Office, Hart-street.
The Times (May 6, 1826): 1.
MR. BRAHAM’S NIGHT.——THEATRE ROYAL COVENT-GARDEN.—Mr. BRAHAM has the honour of announcing to the Public, that his Night is fixed for Thursday, the 18th of May, when a favourite OPERA and other MUSICAL ENTERTAINMENTS will be performed. Tickets and places for the boxes to be had of Mr. Braham, 69, Baker-street, Portman-square; and at the box-office, Hart-street.
The Times (May 11, 1826): 1.
MR. BRAHAM’S NIGHT.——THEATRE ROYAL, COVENT-GARDEN.—On Thursday, 18th May, the Opera of THE SLAVE, composed by H. R. Bishop, esq. Capt. Malcolm, Mr. Braham, 1st time; Zelinda, Miss Paton, 1st time; and Stella, Madame Vestris, 1st time. APOLLO’s FESTIVAL, and other Entertainments. Vocal Pieces as follow:—Glee, ‘Blow, gentle gales.’ ‘Kelvin Grove,’ Mr. Braham. ‘I’ve been roaming,’ Madame Vestris. ‘Pretty Mocking Bird,’ Miss Paton. Trio and Chorus, ‘If in this dread hour,’ Miss Paton, Mr. Duruset, and Mr. Braham. ‘The March of a Soldier,’ Madame Vestris. Duet, ‘When thy Bosom,’ Miss Paton and Mr. Braham. ‘Wellington,’ Mr. Duruset ‘The World’s Seven Wonders,’ Mr. Keely. ‘A Man’s a Man for a’that,’ Mr. Braham. ‘We’re a Noddin,’ Madame Vestris. ‘Blue Bonnets,’ Mr. Braham. ‘Cherry Ripe,’ Madame Vestris. ‘All’s Well,’ Madame Vestris and Mr. Braham. Finale, ‘Freedom’s Isle.’ In Apollo’s Festival:—‘By the gaily circling glass,’ Mr. Braham. ‘When shall we Three meet again, Mr. Braham, Mr. Duruset, and Mr. Isaacs; Song, Mr. Isaacs, ‘The Sapling Oak,’ Glee, first time, (comic) ‘The Tree Crows.’ Duets, ‘Ally Croker’ and ‘Goosy-Goosy Gander,’ Madame Vestris and Mr. Braham. ‘Smile again my bonnie Lassie,’ Mr. C. Bland. Mr. C. Bland. An Irish Comic Love Song, called ‘Cupid’s Hobby Horse,” Mr. Braham, the poetry by Lady Clarke. Glee, ‘Mr. Speaker, tho’ ’tis too late.’ Mr. Moscheles has in the kindest manner offered his services, and will play his last celebrated composition, entitled ‘The Recollections of Ireland.” Mr. Parry will play on the double Flageolet, and the Baron Carl Maria Von Weber will direct his far famed overture of the ‘Ruler of the Spirits.’ To conclude with other Entertainments. Tickets and places for the boxes to be had of Mr. Braham, 69, Baker-street, and at the box-office, Hart-street, Covent-garden.
The Morning Post (May 12, 1826): 1.
MR. BRAHAM’S NIGHT.—THEATRE ROYAL COVENT-GARDEN.—On THURSDAY, May 18, the Opera of the SLAVE, composed by H. R. Bishop, Esq. Captain Malcolm, Mr. Braham, first time; Zelinda, Miss Paton, first time; and Stella, Madame Vestris, first time.—Apollo’s Festival, and other Entertainments. Vocal Pieces as follow:—Glee, Blow gentle gales; Kelvin Grove, Mr. Braham; I’ve been roaming, Madame Vestris; Pretty Mocking Bird, Miss Paton; Trio and Chorus, If in this dread hour, Miss Paton, Mr. Duruset, and Mr. Braham ; The march of a soldier, Madame Vestris; Duet, When thy bosom, Miss Paton and Mr. Braham; Wellington, by Mr. Duruset; The World’s Seven Wonders, Mr. Keely; A man’s a man for a’that, Mr. Braham; We’re a ‘noddin, Madame Vestris; Blue Bonnets, Mr. Braham; Cherry ripe, Madame Vestris; All’s Well, Madame Vestris and Mr. Braham; Finale, Freedom’s Isle.—In Apollo’s Festival:—By the gaily circling glass, Mr. Braham; When shall we three meet again, Mr. Braham, Mr. Duruset, and Mr. Isaac; Song, Mr. Isaacs, The Sapling Oak; Glee, first time (comic) The Tree crows ; Dnets, [sic], Ally Croaker and Goosey Goosey Gander, Madame Vestris and Mr. Braham; Smile again my bonnie lassie, Mr. C. Bland; an Irish comic love song, called Cupid’s hobby horse, Mr. Braham, the poetry by Lady Clarke ; Glee, Mr. Speaker, tho’ ’tis too late.—Mr. Moscheles has in the kindest manner offered his services, and will play his last celebrated composition, entitled The Recollections of Ireland’ “Ar hyd y nos,” with variations, double flageolet and harp, Mr. and Master Parry; and the Baron Carl Maria von Weber will direct his far-famed Overture of the Ruler of the Spirits.—To conclude with the Farce, HIGH LIFE BELOWE STAIRS. Lovel, for that night only, Mr. C. Kemble.
Tickets and places for the boxes, to be had of Mr. Braham, 69, Baker-street, and at the Box Office.
John Bull (May 14, 1826): 153.
MR. BRAHAM’S NIGHT.
THEATRE ROYAL, COVENT-GARDEN, on THURSDAY, May, 18, the Opera of The Slave, Composed by H. R. Bishop, Esq. Captain Malcolm, Mr. Braham, first time; Zelinda, Miss Paton, first time, and Stella, Madame Vestris, first time. Apollo’s Festival, and other Entertainments.
Vocal pieces as follow:—
| Glee, Blow Gentle Gales | The World’s Seven Wonders—Mr. |
| Kelvin Grove—Mr. Braham | Keeley |
| I’ve been roaming—Madame Vestris | A Man’s a Man for a’ that—Mr. Bra- |
| Pretty Mocking Bird—Miss Paton | ham |
| Trio and Chorus, If in this dread hour— | We’re a’ Noddin—Madame Vestris |
| Miss Paton, Mr. Duruset, and Mr. | Blue Bonnets—Mr. Braham |
| Braham. | Sons of Freedom—Miss Paton |
| The March of a Soldier—Madame Ves- | Death of Nelson—Mr. Braham |
| stris | Cherry Ripe—Madame Vestris |
| Duett, When thy Bosom—Miss Paton | All’s Well—Madame Vestris and Mr. |
| and Mr. Braham | Braham |
| Wellington—by Mr. Duruset | Finale—Freedom’s Isle |
In Apollo’s Festival :—By the Gaily Circling Glass, Mr. Braham.—When shall we three meet again, Mr. Braham, Mr. Duruset, and Mr. Isaacs—Song, Mr. Isaacs, the Sapling Oak—Glee, first time (Comic) The Three Crows—Duetts, Ally Croaker and Goosy Goosy Gander, Madame Vestris and Mr. Braham—Smile again my Bonnie Lassie, Mr. C. Bland—an Irish Comic love song, called Cupid’s Hobby Horse, Mr. Braham, the poetry by Lady Clark—Glee, Mr. Speaker, tho’ `tis late. Mr Moscheles has in the kindest manner offered his services, and will play his last celebrated composition, entitled—The Recollections of Ireland. “Ar hyd y nos,” with variations, Double Flageolet and Harp, Mr. and Master Parry; and the Baron Carl Maria Von Weber will direct his far famed Overture of the Ruler of the Spirits. To conclude with the Farce, High Life Below Stairs— Lovel, for that night only. Mr. C. Kemble.—Tickets and places for the Boxes to be had of Mr. Braham, 69, Baker-street, and at the Box Office.
The Examiner (May 14, 1826): 318.
MR. BRAHAM’S NIGHT.
THEATRE ROYAL, COVENT GARDEN.—On THURSDAY, May 18, the Opera of the SLAVE, composed by H. R. Bishop, Esq. ; Capt. Malcolm, Mr Braham (first time); Zelinda, Miss Paton (first time); and Stella, Madame Vestris (first time). With APOLLO’S FESTIVAL. And other Entertainments.—Vocal pieces as follow :—Glee, “Blow, gentle gales;” “Kelvin Grove,” Mr Braham; “I’ve been roaming,” Madame Vestris; “Pretty Mockingbird,” Miss Paton; Trio and chorus, “If in this dread hour,” Miss Paton, Mr Duruset, and Mr Braham; “The march of a soldier,” Madame Vestris; Duet, “When thy bosom,” Miss Paton and Mr Braham; “Wellington,” Mr Duruset; “The world’s seven wonders,” Mr Keely; “A man’s a man for a’ that,” Mr Braham; “We’re a’ noddin,” Madame Vestris; “Blue bonnets,” Mr Braham; “Sons of Freedom,” Miss Paton; “Death of Nelson,” Mr Braham; “Cherry ripe,” Madame Vestris; “All’s well,” Madame Vestris and Mr Braham; Finale “Freedom’s Isle.” In Apollo’s Festival:—“By the gaily circling glass,” Mr Braham; “When shall we three meet again,” Mr Braham, Mr Duruset, and Mr Isaacs; Song, “In the low winding vale,” Mr Isaacs; Glee, first time (comic) “The three crows;” Duets,” Ally Croker’ and “Goosy, Goosy, Gander,” Madame Vestris and Mr Braham; “Smile again, my bonnie lassie,” Mr. O. Bland; An Irish comic love song, called “Cupid’s Hobby Horse,” Mr Braham, the poetry by Lady Clarke; Glee, “Mr Speaker, though ’tis late.” Mr Moscheles has in the kindest manner offered his services, and will play his last celebrated composition, entitled “The Recollections of Ireland:” “Ar hyd y nos,” with Carl Maria Von Weber will direct his far-famed Overture of “The Rulers of the Spirits.” To conclude with the Farce HIGH LIFE BELOW STAIRS; Lovel, for that night only, Mr C. Kemble.—Tickets and places for the boxes to be had of Mr Braham, 69 Baker street; and at the Box-office.
The Observer (May 14, 1826): 3.
MR. BRAHAM’S NIGHT.—THEATRE ROYAL
COVENT GARDEN.—On Thursday, May 18, the Opera of THE SLAVE, composed by H. R. Bishop, Esq. (Captain f, Mr. Braham, first time; Zelinda, Miss Paton, first time; and Stella, Madame Vestris, first time). APOLLO’S FESTIVAL. And other Entertainments. Vocal Pieces as follow:—
| Glee—“Blow gentle gales.” | “The World’s Seven Wonders,” |
| “Kelvin Grove,” Mr. Braham. | Mr. Keeley. |
| “I’ve been roaming, “ Mad. Vestris. | “A Man’s a Man for a’ That,” Mr. |
| “Pretty Mocking Bird,” Miss Paton. | Braham. |
| Trio and Chorus.—“ It in this dread | “We’re a’ Noddin.” Mad. Vestris. |
| hour.” Miss Paton, Mr. Duruset, | “Blue Bonnets,” Mr. Braham. |
| and Mr. Braham. | “Sons of Freedom,” Miss Paton. |
| “The March of a Soldier,” Madame | “Death of Nelson,” Mr. Braham. |
| Vestris. | “Cherry Ripe,” Madame Vestris. |
| Duet—“When thy Bosom,” Miss | “All’s Well,” Madame Vestris and |
| Paton and Mr. Braham | Mr. Braham |
| “Wellington,” Mr. Duruset. | Finale—“Freedom’s Isle.” |
In Apollo’s Festival—“By the gaily circling glass,” Mr. Braham.—“When shall we three meet again,” Mr. Braham, Mr. Duruset, and Mr. Isaacs.—Song, Mr. Isaacs, “The Low Winding Vale.”—Glee, first time (comic) “The Three Crows.” Duets, “Ally Croaker” and “Goosey Gooesey Gander,” Madame Vestris and Mr. Braham.—“Smile again, my Bonnie Lassie,” Mr. C. Bland.—An Irish Comic Love Song, called “Cupid’s Hobby Horse,” Mr. Braham, the poetry by Lady Clarke.—Glee, “Mr. Speaker, tho’ `tis late.”—Mr Moscheles has, in the kindest manner, offered his services, and will play his last celebrated composition, entitled “The Recollections of Ireland.”—“Ar hyd y nos,” with variations, double flageolet and Harp, Mr. and Master Parry; and the Baron Carl Maria Von Weber will direct his far famed Overture of the “Ruler of the Spirits.”—To conclude with the Farce, HIGH LIFE BELOW STAIRS. (Lovel, for that night only). Mr. C. Kemble.
Tickets, and places for the boxes to be had of Mr. Braham, 69, Baker-street, Portman-square; and at the Box Office, Hart-street.
The Times (May 16, 1826): 2.
MR. BRAHAM’S NIGHT.——THEATRE ROYAL, COVENT-GARDEN.—On Thursday, May 18, the Opera of the SLAVE, composed by H. R. Bishop, esq. Captain Malcolm, Mr. Braham, first time; Zelinda, Miss Paton, first time; and Stella, Madame Vestris, first time. Apollo’s Festival, and other Entertainments. Vocal pieces as follow:—Glee, “Blow, gentle gales”; “Kelvin Grove”, Mr. Braham; “I’ve been roaming”, Madame Vestris; “Pretty Mocking Bird”, Miss Paton; Trio and Chorus, “If in this dread hour,” Miss Paton, Mr. Duruset, and Mr. Braham; “The March of a Soldier”, Madame Vestris; Duet, “When thy bosom”, Miss Paton and Mr. Braham; “Wellington”, by Mr. Duruset; “The World’s Seven Wonders”, Mr. Keely; “A Man’s a Man for a’that”, Mr. Braham; “We’re a noddin”, Madame Vestris; “Blue Bonnets,” Mr. Braham; “Cherry Ripe,” Madame Vestris; “All’s Well,” Madame Vestris and Mr. Braham; Finale, “Freedom’s Isle”, In Apollo’s Festival—”By the gaily circling glass”, Mr. Braham; “When shall we three meet again”, Mr. Braham, Mr. Duruset, and Mr. Isaacs; Song, Mr. Isaacs, “The Sapling Oak”; Glee, first time, (comic), “The Tree Crows; Duets, ‘Ally Croaker’ and “Goosey Goosey Gander”, Madame Vestris and Mr. Braham; “Smile again my bonnie lassie,” Mr. C. Bland; an Irish Comic Love Song, called “Cupid’s Hobby Horse”, Mr. Braham, the poetry by Lady Clarke; Glee, “Mr. Speaker, tho’ ’tis too late.” Mr. Moscheles has, in the kindest manner, offered his services, and will play his last celebrated composition, entitled “The Recollections of Ireland”; “Ar hyd y nos,” with variations, double flageolet and harp. Mr. and Master Parry; and the Baron Carl Maria Von Weber will direct his far-famed Overture of the ‘Ruler of the Spirits.’ To conclude with the Farce, HIGH LIFE BELOW STAIRS. Lovel, for that night only, Mr. C. Kemble. Tickets and places for the boxes, to be had of Mr. Braham, 69, Baker-street, and at the Box-office.
The Public Ledger and Daily Advertiser (May 17, 1826): 1.
Mr. BRAHAM’s NIGHT.
THEATRE ROYAL. COVENT-GARDEN.
TO-MORROW, the 18th Instant, the Opera of
THE SLAVE,
Composed by H. R. Bishop, Esq.
Captain Malcolm, Mr. Braham, First time; Zelinda, Miss
Paton, first time; and Stella, Madame Vestris, first time.
APOLLO’S FESTIVAL,
And other Entertainments—Vocal Pieces as follow :—
Glee, Blow Gentle Gales; Kelvin Grove, Mr. Braham; I’ve been roaming, Madame Vestris; Pretty Mocking Bird, Miss Paton; Trio and Chorus, If in this dread hour, Miss Paton, Mr. Duruset, and Mr. Braham; The March of a Soldier, Madame Vestris; Duet, When thy bosom, Miss Paton and Mr. Braham; Wellington, by Mr. Duruset; The World’s Seven Wonders, Mr. Keely; A man’s a man for a’ that, Mr. Braham; We’re a’ noddin, Madame Vestris; Blue Bonnets, Mr. Braham ; Sons of Freedom, Miss Paton; Death of Nelson, Mr. Braham; Cherry Ripe, Madame Vestris; All’s Well, Madame Vestris and Mr. Braham; Finale, Freedom’s Isle.
In Apollo’s Festival—By the gaily circling glass, Mr. Braham; When shall we three meet again, Mr. Braham, Mr. Duruset, and Mr. Isaacs; Song, Mr. Isaacs, The Sapling Oak; Glee, first time (comic), The Three Crows; Duets, Ally Croaker and Goosey Gooesey Gander, Madame Vestris and Mr. Braham; Smile again my bonnie lassie, Mr. C. Bland; an Irish Comic Love Song, called Cupid’s Hobby Horse, Mr. Braham, the poetry by Lady Clarke; Glee, Mr. Speaker, tho’ `tis late. Mr Moscheles has, in the kindest manner, offered his services, and will play his last celebrated composition, entitled The Recollections of Ireland; “Ar hyd y nos,” with variations, double flageolet and harp, Mr. and Master Parry; and the Baron Carl Maria Von Weber will direct his far-famed Overture of the Ruler of the Spirits.
To conclude with Farce,
HIGH LIFE BELOW STAIRS.
Lovel, for that Night only, Mr. C. Kemble.
Tickets and Places for the Boxes to be had of Mr. Braham, 69, Baker-street, Portman-square; and at the Box Office, Hart-street.
The Public Ledger and Daily Advertiser (May 18, 1826): 1.
Mr. BRAHAM’s NIGHT.
THEATRE ROYAL. COVENT-GARDEN.
THIS EVENING, the 18th Instant, the Opera of…
[the rest is the same as advertised in The Courier on May 17]
The Theatrical Observer (May 18, 1826): 2.
THEATRE ROYAL, COVENT GARDEN.
—————————
MR. BRAHAM’S NIGHT.
This Evening, the Opera of
THE SLAVE.
Governor, Mr BLANCHARD, Capt. Clifton, Mr DURUSET, Capt. Malcolm, (first time) Mr BRAHAM, Lindenburg, Mr SERLE, Mathew Sharpset, Mr JONES, Sam Sharpset, Mr RAYNER, Gambia, (the Slave) Mr COOPER, Somerdyke, Mr J. ISAACS, Provost, Mr ATKINS, Planter’s Boy, Master LONGHURST. Fogrum, Mr KEELEY, Officer, Mr HENRY, Jailer, Mr BARNES, Stella Clifton, (first time) Madame VESTRIS, Mrs Lindenberg, Mrs VINING, Miss Frump, Mrs DAVENPORT, Zelinda, (first time) Miss PATON.
After which,
Apollo’s Festival.
Glee, Blow gentle galos.
Kelvin Grove, Mr. Braham, “I’ve been a roaming,” Mad. Vestris,
Pretty Mocking Bird, Miss Paton.
“If in this dread hour,” Miss Paton, Mr. Duruset, & Mr Braham.
The March of a Soldier, Madame Vestris.
When thy bosom, Miss Paton and Mr Braham.
Wellington, Mr Duruset. The World’s Seven Wonders, Mr Rayner.
A Man’s a Man for a’ that, Mr Braham,
We’re a Noddin, Madame Vestris, Blue Bonnets, Mr. Braham.
SONS OF FREEDOM, Miss Paton.
Death of Nelson, Mr Braham, Cherry Ripe, Madame Vestris.
Duet, “ALL’s WELL,” Madame Vestris & Mr Braham.
In APOLLO’s FESTIVAL.
“By the gaily circling Glass, by Mr. BRAHAM.
“When shall we three meet again,” Messrs. Braham, Duruset, and J. Isaccs.
“Flow thou regal purple stream,” Mr Isaccs. Glee—The Three Crows.
Ally Croaker, & Goosy Goosy Gander, Mad. Vestris & Mr. Braham.
BLACK EY’D SUSAN, Miss PATON.
Smile again, Mr C. Bland. Cupid’s Hobby Horse, Mr Braham.
Glee—“Mr. Speaker, tho’ ’tis late.
Mr. Moscheles will play The Recollections of Ireland.
“Arhyd y nos,” Double Flageolet and Harp, Mr and Master Parry.
BARON CARL MARIA VON WEBER
Will direct his Overture of THE RULER OF THE SPIRITS.
To conclude with the Farce of
High Life below Stairs.
Lovel, Mr C KEMBLE, Freeman, Mr BAKER, Philip, Mr EVANS,
Duke’s Servant, Mr JONES, Sir Harry’s Servant, Mr FARLEY.
Mrs Kitty, Mrs GIBBS, Lady Charlotte’s Maid, Miss HENRY,
Lady Bab’s Maid, Miss GOWARD, Chloe, Mrs WILSON.
Reviews
The Courier (May 19, 1826): 3.
COVENT GARDEN THEATRE.
Braham took his Benefit last night. His merits are now too well known to need the aid of panegyric. His incomparable excellence has indeed never been questioned, except by that class of musical professors, who without rigour or originality. possess a moderate portion of knowledge, and, by the aid of much pretension) and considerable patronage, become concert-singers, critics, and directors. Mere shewiness [sic] and trickery may have their day, but their success will be but short-lived.—The length of time for which Brabant has maintained pre-eminence far above all rivalry, would alone he sufficient evidence of his extraordinary capabilities. The most striking of his peculiarities, the present time, the perfect freshness and unabated strength of his voice. Nothing can surpass his mellow ness of tone, his flexibility, and his delicacy and variety of modulation. Nor are Braham’s claims to the favour which has been so liberally bestowed on him, confined to his ability as singer. The Cabinet, alone, would rank him with the best composers of the day. His melodies arc always pleasing, and many instances beautiful. The house was crowded in every part last night, and early hour it was announced at the door that there was no room. The performances presented little opportunity for remark. The most successful plan, on these occasions, seems to be to stuff the bill full of all sorts of productions, so as to satiate those whose appetite is most keen, and to exhaust the patience of all who are not downright musical gluttons. The regular frequenters of theatres fall in with the fashion of the moment, and those whose visits are “few and far between,” take care to go when they can make the most of their money. The Opera last night was the [sic] The Slave. Braham played Captain Malcolm and introduced several favourite airs, amongst which was Burns’ song of “A man’s a man for a’ that.” Miss Paton was the Zelinda. Madame Vestris played Stella Clifton, and beside some favourite airs, sang in the duet of “ All’s well” with Braham. The second part is not suited to a female voice, but the duet was encored. The opera was followed by a musical selection, under the title of Apollo’s Festival. Nothing could be less ostentatious than the arrangements for this feast. The performers were seated at a table with wine before the, in the plainest possible style. The most striking pieces were, “Black eyed Susan,” delivered with exquisite taste, feeling, and modulation, by Miss Paton. “Cupid’s Hobby-horse,” by Braham, and “Ally Croaker,” by Braham and Madame Vestris. The instrumental performances were Weber’s overture to the “Ruler of the Spirits;” a concerto by Moscheles, on the piano-forte, which excited strong symptoms of impatience in the galleries; and an air with variations, on the double flageolet, accompanied by the harp, by Mr. and Master Parry. High Life below Stairs closed the entertainments, which lasted until an unusually late hour.
The Courier (May 19, 1826): 4.
MISS PATON.
This superb young Lady, (by the bye, how long does she intend to hold her marriage honours in abeyance?) is really very fantastical. It is a pity some friends does not teach her how to conduct herself towards the public, if it be only to prevent the public from teaching her itself. At Braham’s benefit last night, the house as it always is, was crowded to the very roof, and in warm weather some indulgence may be vouchsafed to those who are undergoing the process of dissolution, elbow-boring, and toe crushing all at once, should they sometimes grumble in their gizzards audibly. But the illustrious Miss Paton opines, that when she deigns to open her mouth, all other mouths must be shut. While she was singing Sons of Freedom, in the Slave, some presumptuous fellow in the one shilling gallery had the amazing audacity to laugh at something, Heaven knows what! which happened to excite his risible faculties. Miss Paton paused—it was an awful moment!—She assumed an air of magnificent disdain. “What’s the matter?”—“Is she ill ?”—“What is it?”—was whispered from box to box. Another moment, and all was silent! Then super dignified lady went on with her song. Our very hair stands on end, as we proceed. Incredible as it may appear, yet it is positively a fact, that before she had sung a half of a dozen bars, another miscreant, aye—and in that same one shilling gallery,—called out, “Joe, I hope you are cool and comfortable”—and there was another laugh from some half dozen of the Gods. This was enough. The indignity was not to be borne.—“I really cannot sing,” exclaimed the august lady, and with stately step she left the stage. A scene of more offensive and disgusting insolence we never witnessed. We can only say, that had the audience been of our way of thinking, she would not have been permitted to return to the stage till she had most humbly apologised.—Had there been such a momentary confusion in the house, that her voice could not be heard, we should have applauded the good taste and good sense which suggested to her, or to any performer, the propriety of suspending the business of the scene till order, was restored: but the insufferable arrogance of saying to a whole theatre, silent and attentive, with the exception of a scarcely audible interruption in the one-shilling gallery, that they are not worth singing to if there is the slightest noise, does, we confess, exceed our notions of stage dignity. And mark what followed, in the course of the evening Mr. Moscheles gave one of his matchless performances on the grand piano-forte. The galleries, as was to be expected, soon grew weary of what they could not understand, and before it was half over, began to hiss. Did this great master of his art, therefore, rise from the instrument, and make his exit, with a mock tragedy bounce? No. Mr. Moscheles went through the piece, good humouredly smiling at an annoyance which he had sense enough to understand, and delighting those who were near enough to the stage to catch portions of his splendid execution.
——
A correspondent has sent us the following Epigram upon Miss Paton’s heroic :—
ON MISS PATON’S LAST GRAND DISPLAY.
A laugh is heard—within tragic fling
“I can’t proceed,” Miss P———declares;
But if, indeed, she cannot sing,—
Her Ladyship can shew—her airs.
The Morning Post (May 19, 1826): 3.
COVENT-GARDEN THEATRE.
This Theatre was crowded to an overflow last night, several handreds [sic] being obliged to go away disappointed, soon after the doors were opened—a just and due tribute to the great and transcendent talents of that Apollo of a Song, Mr. BRAHAM. The Opera of the Slave was the chief performance of the evening, in which BRAHAM introduced several additional airs with most delectable effect; and was powerfully supposed by Madame VESTRIS and Miss PATON. The latter Lady, while singing the beautiful air of PITY THE SLAVE, became suddenly so much overcome that she could not proceed, and to the great regret of the audience, her utmost efforts failed of enabling the willing Slave to complete her given task, however harmoniously undertaken, and captivatingly commence. Miss PATON, however, soon after recovered, and being herself again, delighted the audience with a full display of her sweet and brilliant strains. The Opera was succeeded by The Festival of Apollo, in which BRAHAM’S inimitable powers were exhibited to the best possible advantage; and all the other vocal performers of the company afforded the most effective aid. The chief novelty of this scene was an admirable performance on the double flageolet by Mr. PARRY, accompanied on the harp by his interesting song. Never before was the former instrument heard with so much pleasure and fine effect; and the warm testimonials of the audience were commensurate with the merits so eminently displayed. The excellent Farce of High Life below Stairs concluded the entertainments of the evening with infinite eclat.
The Theatrical Observer (May 19, 1826): 1.
Covent Garden Theatre.
MR. BRAHAM had an overflowing house, last night, at his Benefit. From the rising of the curtain up to 12 o’clock, the pit and galleries were one scene of riot and confusion. Mr. Farren and Mr. Duruset addressed the audience, but could not be heard. High Life below Stairs had not commenced at 12 o’clock, when we left the theatre.
The Times (May 20, 1826): 3.
MISS PATON.—[As it is not usual to criticise the proceedings of a benefit-night, except under circumstances of novelty, our reporter was not at Covent-garden Theatre on Monday the following account, therefore, is taken from an evening paper. We have only to ad, that if Miss Paton is married, what must that husband be who lives on the fruits of a profession which it is evident she must loathe: why does he not acknowledge her, and take her from the stage?]-“This superb young Lady, (by the bye, how long does she intend to hold her marriage honours in abeyance?) is really very fantastical. At Braham’s benefit on Thursday night, while Miss Paton was singing “Sons of Freedom,” in The Slave, some presumptuous fellow in the one-shilling gallery had the amazing audacity to laugh at something, heaven knows what! Which happened to excite his risible faculties. Miss Paton paused—it was an awful moment!—She assumed an air of magnificent disdain. “What’s the matter?”—“Is she ill ?”—“What is it?—was whispered from box to box. Another moment, and all was silent! Then super dignified lady went on with her song. Our very hair stands on end, as we proceed. Incredible as it may appear, yet it is positively a fact, that before she had sung a half of a dozen bars, another miscreant—ay, and in that same one-shilling gallery,—called out, “Joe, I hope you are cool and comfortable”—and there was another laugh from some half dozen of the gods. This was enough. The indignity was not to be born.—“I really cannot sing,” exclaimed the august lady, and with stately step she left the stage! A scene of more offensive and disgusting insolence we never witnessed. We can only say, that had the audience been of our way of thinking, she would not have been permitted to return to the stage till she had most humbly apologised. Had there been such a momentary confusion in the house, that her voice could not be heard, we should have applauded the good taste and good sense which suggested to her, or to any performer, the propriety of suspending the business of the scene till order, was restored; but the insufferable arrogance of saying to a whole theatre, silent and attentive, with the exception of a scarcely audible interruption in the one-shilling gallery, that they are not worth singing to if there is the slightest noise, does, we confess, exceed our notions of stage dignity. And mark what followed. In the course of the evening Mr. Moscheles gave one of his matchless performances on the grand piano-forte. The galleries, as was to be expected, soon grew weary of what they could not understand, and before it was half over, began to hiss. Did this great master of his art, therefore, rise from the instrument, and make his exit, with a mock tragedy bounce? No. Mr. Moscheles went through the piece, good humouredly smiling at an annoyance which he had sense enough to understand, and delighting those who were near enough to the stage to catch portions of his splendid execution.
Cork Constitution (May 23, 1826): 1.
[Save as advertisement by the The Courier, on May 19, until ‘his splendid execution’. Additionally, square brackets are used instead parenthesises for the first sentence]
….his splendid execution.
ON MISS PATON’S LAST GRAND DISPLAY.
A laugh is heard—within tragic fling
“I cannot proceed,” Miss P———declares:
But if, indeed, she cannot sing—
Her Ladyship can shew—her airs.
Perthshire Courier (May 25, 1826): 2-3.
[Same as issued in The Courier on May 19, until ‘his splendid execution’ and with a few editorial alternations]
MISS PATON.—This superb….elbowboring….
Dublin Evening Mail (May 26, 1826): 4.
[Same as issued in The Courier on May 19, with a few editorial alternations]
…Miss Paton paused—it was an awful moment! She assumed an air of magnificent disdain. “What’s the matter?” “Is she ill ?” “What is it?” was whispered from box to box.—Another moment, and all was silent! Then super dignified lady went on with her song. Our very hair stands on end, as we proceed. Incredible as it may appear, yet it is positively a fact, that before she had sung a half of a dozen bars, another miscreant, aye—and in that same one shilling gallery, called out, “Joe, I hope you are cool and comfortable”—and there was another laugh from some half dozen of the Gods. This was enough. The indignity was not to be borne. “ I really cannot sing….till order, was restored—but the insufferable arrogance of saying to a whole theatre….of his splendid execution. ——
A correspondent has sent us the following Epigram upon Miss Paton’s heroic: —
ON MISS PATON’S LAST GRAND DISPLAY.
A laugh is heard—within tragic fling
“I can’t proceed,” Miss P———declares;
But if, indeed, she cannot sing,
Her Ladyship can shew—her airs.
The Morning Post (May 27, 1826): 3.
MUSICALS.
There are three trifling reasons for the dissatisfaction expressed by the gods during MOSCHELES’ admirable performance on the Piano Forte, at BRAHAMS Benefit. First, they will all swear by Styx of Max. that not a note could be heard—even by those in the front row of the gallery ; they therefore decree, that all Piano music should be played Forte: second, that, not hearing the instrument, they thought the performance too long, consequently they decree that Concertos which cannot be heard, ought not to be played: and, lastly, when a Solo is announced, they peremptorily decree, that only one person should perform, as has been the practice at Olympus and the White Conduit House—time immemorial.
Ignaz Moscheles' Concert Life 