26 February 1823

Oratorio Concert/A Grand Performance of Ancient and Modern Music

London: Theatre Royal, Drury Lane

Time: Evening, Seven o’Clock

Tickets: Boxes 7s., Pit 3s. 6d., Lower Gallery 2s., Upper Gallery 1s., Second Price at 9.

 

✗Programme

Part I
A Grand Selection
Overture, Esther		Handel
‘Hymn of Eve’	Miss Stephens	Arne
From Samson: Air, ‘Honor and arms’	Mr. Kellner	Handel
From Judas Maccabæus   Air, ‘From mighty Kings’ Trio, ‘Disdainful of danger	Mrs. Salmon Messrs. Kellner, Pyne, Terrail, Chorus	Handel
From Jephtha: Recit. and Air, ‘Farewell ye limpid streams’	Miss Tree	Handel
From Judas Maccabæus: Duet, ‘O lovely peace’	Miss Cubitt, Miss Love	Handel
‘Luther’s Hymn’	Mr. Braham
From The Mount of Olives Recit. and Trio, ‘O children of our Father’ ‘Hallelujah! to the Father’	Miss Goodall, Messrs. Braham, Nelson Chorus	Beethoven
Scene and Aria, ‘Ciel clemente’	Mme Bulgari	Morlacchi
Free Piano Fantasia, incl. ‘We are a’ noddin’	Mr. Moscheles
*From Abel: Song, ‘How cheerful along he gay mead’	Miss Stephens	Arne
*Recit and Air, ‘Auld Robin Grey’	Miss Stephens	Rev. W. Leeves
*Duet, ‘I love thee’	Miss Stephens, Mr. Braham
*From Samson: Air, ‘Let the bright Seraphin’	Miss Stephens	Handel
Part II
A Selection from Rossini’s Oratorio Cyrus in Babylon (second time in the country)
Overture
Introduction and Air, ‘The Babylonias rejoicing for their victory over the Persians’	Mrs. Salmon, Mr. Braham
Air, ‘Cyrus’s sorrow for his fate, and exhortation to his companions to revenge him’	Miss M. Tree, Chorus
Trio, ‘The interview of Cyrus and Amira discovered by Belshazzar’	Mrs. Salmon, Miss Tree, Mr. Braham
Air, ‘Belshazzar in consternation, demands from the sages an interpretation of the hand-writing on the wail’	Mr. Braham, Chorus
Recit. and Air, ‘Daniel denounces the wrath of heaven Belshazzar’	Mr. Pyne
Air, ‘Amira’s lamentation at the approaching death of Cyrus and her son’	Mrs. Salmon; Violin Obbligato: Mr. Mori
Finale, ‘The deliverance of Cyrus’	Miss M. Tree, Mrs. Salmon, Mr. Nelson, Chorus
Horn Fantasia, incl. ‘Rule Britannia’	Signor Puzzi
Part III
A Grand Miscellaneous Act
The Calm of the Sea and the Rising Breeze. A descriptive Chorus by Beethoven translated and adapted from  German from Goethe’s Poem (fourth time in the country)	Soloists: Miss Povey, Master Longhurst, Messrs. Nelson, Terrail
Air, ‘O say not woman’s love is bought’	Miss Tree	Whitaker
From Judas Maccabæus: Recit. and Air, ‘Sound an alarm’	Mr. Braham	Handel
From Judas Maccabæus: ‘We hear, we hear’	Chorus	Handel
From La donna del Lago: Cavatina, ‘Oh! quante lagrime’	Mme Vestris	Rossini
Recit. and Air, ‘Tritler, forbear’	Miss Forde	Bishop
From Davide: Recit. and Rondo, ‘Saziati Ingrata’	Mr. Kellner	Ziagaretti
Trio, ‘Blithe are the bowers of Mosley’	Miss Love, Miss Forde, Miss Povey	Kelly
Grand Chorus and Solo	Mr. Terrail, Chorus	Handel

Principal Vocalists: Mesdames Bulgari, Vestris, Miss Cubitt, Miss Forde, Miss Love, Miss M. Tree, Miss Povey, Mrs. Salmon, Miss Stephens; Master Longhurst, Messrs. Braham, Kellner, Nelson, Pyne, Terrail

Principal Instrumentalists: Messrs. Mori, Moscheles, Signor Puzzi

Leader: Leader, Mr. Henry Smart; Conductor: Sir George Smart

———————————

Encores: Recit and Air, ‘Auld Robin Grey’—Miss Stephens—Rev. W. Leeves

Duet, ‘I love thee’—Miss Stephens

Air, ‘Let the bright Seraphin’—Miss Stephens, Mr. Braham

---

Advertisements

Playbill (February 21, 1823)

THEATRE ROYAL, DRURY LANE

———————————

The Nobility, Gentry, and the Public, are respectfully informed, that a GRAND PERFORMANCE of

ANTIENT AND MODERN MUSIC,

Will take place at the above Theatre,

THIS EVENING, WEDNESDAY, FEBRUARY 26th, 1823,

Under the Direction of

Mr. BOCHSA.

A NEW AND SUPERB ORCHESTRA has been designed and decorated by Mr. MARINARI, for these Performances.

———————————

PART I.—A

GRAND SELECTION

Overture to Esther……………………………………………………….	Handel.
Hymn of Eve, Miss STEPHENS………………………………………….	Arne.
Air, Mr. KELLNER—Honour and arms………….(Samson.)……………	Handel.
Recit. & Air, Mrs. SALMON—From mighty kings…(Judas Macc.)…….	Handel.
Trio, Mr. TERRAIL, Mr. PYNE, and Mr. KELLNER, and Chorus—
Disdainful of danger……………….(Judas Macc.)……………………	Handel.
Recit. & Air, Miss M. TREE—Farewell ye limpid streams..(Jephthah.)…	Handel.
Duetto, Miss CUBITT & Miss LOVE—O lovely peace..(Judas Macc.)…	Handel.
Luther’s Hymn, Mr. BRAHAM.
Recit. and Air, Miss POVEY—But thou didst not leave…………………..	Handel.
FROM BEETHOVEN’s CELEBRATED SACRED ORATORIO,
THE MOUNT OF OLIVES:
Recit. and Trio, Miss GOODALL, Mr. BRAHAM, and Mr. NELSON—
O children of our Father.
Grand Chorus—Hallelujah! to the Father!

Between the First and Second Parts,

Scena ed Aria, Madame BULGARI, (her Third Appearance in London)—Ciel clemente…….Morlacchi.              A FANTASIA EXTEMPORE ON THE GRAND PIANO FORTE,

MR. MOSCHELES,

In which will be introduced some favourite National Airs. (His Last Appearance but one at these Performances.)

PART II.

In consequence of the very great Applause on the 30th of January last, and on the 14th Instant, will be repeated (for the Third Time in this Country)

A SELECTION FROM ROSSINI’s SACRED ORATORIO,

CYPRUS IN BABYLON.

With English Words, translated and adapted from the original Italian.

Overture.

Introduction and Air, Mr. NELSON, and Chorus—

The Babylonians rejoicing for their victory over the Persians.

Recit. and Duet, Miss GOODALL and Mr, BRAHAM—

Belshazzar’s menances to Amira, and her fidelity to Cyrus.

Chorus—and Air, Miss M. TREE—Cyrus’s sorrow for his fate, and exhortation

to his companions to revenge him.

Trio, Miss GOODALL, Madame VESTRIS, and Mr. BRAHAM—

The interview of Cyrus and Amira discovered by Belshazzar.

Air, Mr. BRAHAM, and Chorus—Belshazzar, in consternation, demands from

the sages the interpretation of the hand-writing on the wall.

Recit. and Air, Mr. PYNE—Daniel denounces the wrath of heaven against

Belshazzar.

Chorus—The attendants of Amira condole with her.

Recit. and Cavatina, Madame VESTRIS—Cyrus’s farewell with his son.

Finale, Miss POVEY, Miss M. TREE, and Mr. NELSON, and Chorus—

The deliverance of Cyrus.

Between the Second and Third Parts.

A Fantasia on the Horn, Signor PUZZI, in which will be introduced the National Air, “Rule Britannia.”

PART III.

A Grand Miscellaneous Act.

Which will commence with (for the Fourth Time in this Country), a descriptive Chorus composed by BEETHOVEN, entitled

THE CALM OF THE SEA AND THE RISING BREEZE,

The Solo Parts, by Miss POVEY, Master LONGHURST, Mr. TERRAIL, and Mr. NELSON.

(This Piece is one of the latest productions of the above celebrated Composer.)

Air, Miss M. TREE—O say not woman’s love is bought……………Whitaker.

Recit. and Air, Mr. BRAHAM—Sound an alarm.…(Judas Macc.)…Handel.

Chorus—We hear, we hear………………………

Cavatina, Madame VESTRIS—Oh quante lagrime……………………..Rossini.

Recit. and Air, Miss FORDE—Trifler, forbear………………………….Bishop.

Recit. e Rondo, Mr. KELLNER—Saziati ingrata!…….(Davide.)……..Zingarelli.

Trio, Miss POVEY, Miss FORDE, and Miss LOVE—

Blithe are the bowers of Mosely…………………………………………Kelly.

Grand Chorus, and Solo, Mr. TERRAIL………(Athalia.)………………Handel.

Around let acclamations ring,

Bless the true Church and save the King.

PRINCIPAL VOCAL PERFORMERS.

Mrs. SALMON	Miss STEPHENS,
Miss GOODALL,	Miss CUBITT,
Miss FORDE,	Miss POVEY,
AND	Miss LOVE,
AND
Miss M. TREE.	Madame VESTRIS.

AND

Madame BULGARI

(Her Third Appearance in London.)

Mr. BRAHAM,

Mr. PYNE, Mr. TERRAIL,     Mr. NELSON,      Master Longhurst,

And

Mr. KELLNER,

(His Second Appearance at These Performances for these Two Years.)

The Band will be numerous, and complete in every Department. Leader, Mr. SMART.

SIR GEORGE SMART,

Will conduct the Performance, and preside at the Organ, built by Mr. GRAY.

[GB-Lbl Playbills 56]

The Morning Chronicle (February 24, 1823): 1.

NEW THEATRE ROYAL, DRURY-LANE.—On Wednesday Next, a Grand Performance of ANTIENT and MODERN MUSIC, under the Direction of Mr. Bochsa.—Part I. A Selection from the Works of Handel, Haydn, Mozart, Beethoven, &c. &c.- Between the First and Second Parts—Air, Mad. Bulgari; a Fantasie extempore on the Grand Piano-forte (in which will be introduced the favourite Air “We’re a’ Noddin), Mr. Moschelles.—Part II. (Third time in this country). A Selection from Rossini’s Sacred Oratorio Cyrus in Babylon; between the Second and Third Parts, a Fantasia on the Horn, Signor Puzzi. —Part III. A Grand Miscellaneous Act, the particulars of which will be announced. Principal Vocal Performers—Mrs. Salmon, Miss Goodall, Miss Forde, Miss Cubitt, and Miss M. Tree; Miss Stephens, Miss Povey, Miss Love, Miss Paton, Madame Vestris, Mad. Bulgari. Mr Braham, Mr. Pyne, Mr. Terrail, Mr. Nelson, Master Longhurst, and Mr. Sapio; Mr. Kellner and Signor Curioni. Conductor, Sir George Smart; Leader, Mr. Smart.

Morning Advertiser (February 26, 1823): 2.

NEW THEATRE ROYAL, DRURY-LANE

THIS EVENING, Feb 26, a GRAND PERFORMANCE of ANCIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA.

Part I. A SELECTION from the Works of Handel, Beethoven, &c. &c. Between the first and second Parts, Air, Madame Bulgari, Mortachi; a Fantasia § on the Grand Piano Forte (in which will be introduced, the favourite Air “We’re a’ noddin), Mr. Moscheles. (His last appearance but one.)

Part II.—(Third time in this country) a SELECTION from Rossini’s Sacred Oratorio, CYRUS IN BABYLON. Between the second and third Parts, a Fantasia on the Horn, Sig. Puzzi.

Part III.—A GRAND MISCELLANEOUS ACT, which will commence with (fifth time in this Country) THE CALM OF THE SEA AND THE RISING BREEZE, a descriptive Chorus, composed by Beethoven. Further particulars are announced in the small bills.

Principal Vocal Performers.—Mrs. Salmon, Miss Goodall, Miss Forde, Miss Cubitt, and Miss M. Tree.—Miss Stephens, Miss Povey, Miss Love, and Madame Vestris, and Madame Bulgari.-Mr. Braham, Mr. Pyne, Mr. Terrail, Mr. Nelson, Master Longhurst, and Mr. Kellner. Conductor, Sir George Smart.— Leader, Mr. Smart.

On Friday next, the 28th, the Grand Performance of Antient and Modern Music will take place at the above Theatre, when will be repeated, (for the 2d time in this Country, “The Lady of the Lake,” by Rossini.

Public Ledger and Daily Advertiser (February 26, 1823): 1.

THEATRE ROYAL, DRURY-LANE

THIS EVENING, Feb 26th,

A GRAND PERFORMANCE OF ANCIENT AND

MODERN MUSIC,

under the direction of Mr. BOCHSA.

Part I.—A SELECTION from the Works of Handel. Beethoven, &c. Between the First and Second Parts, Air, Madame Bulgari, Mortachi; a Fantasia extempore on the Grand Piano Forte (in which will be introduced, the favourite Air ‘We’re a’ noddin) Mr. Moscheles, (his last appearance but one)

Part II.—(Third time in this country) a Selection from Rossini’s Sacred Oratorio, CYRUS IN BABYLON. Between the Second and Third Parts, a Fantasia on the Horn, Signor Puzzi.

Part III.—A GRAND MISCELLANEOUS ACT; which will commence with (5th time in this country) THE CALM OF THE SEA AND THE RISNG BREEZE, a descriptive Chorus, composed by Beethoven. Further Particulars are announced in the small Bills.

Principal Vocal Performers—Mrs. Salmon, Miss Goodall, Miss Forde, Miss Cubitt, and Miss M. Tree.—Miss Stephens, Miss Povey, Miss Love, and Madame Vestris, and Madame Bulgari.—Mr. Braham, Mr. Pyne, Mr. Terrail, Mr. Nelson, Master Longhurst, and Mr. Kellner. Conductor, Sir George Smart. Leader, Mr. Smart.

On Friday next, the 28th Instant. the Grand Performance of Antient and Modern Music will take place at the above Theatre, when will be repeated, (for the 2d time in this country, THE LADY OF THE LAKE, by Rossini.

The Morning Chronicle (February 26, 1823): 1.

NEW THEATRE ROYAL, DRURY-LANE.—THIS EVENING, a Grand Performance of ANTIENT and MODERN MUSIC, under the Direction of Mr. Bochsa.—Part I. A SELECTION [*] from the Works of Handel, Beethoven, &c. &c. Between the First and Second Parts-Air, Mad. Bulgari; Mortachi; a Fantasie extempore on the Grand Piano-forte (in which will be introduced the favourite Air “We’re a’ Noddin”), M. Moschelles (his last appearance but one).—Part II. (Third time in this country). A Selection from Rossini’s Sacred Oratorio, CYRUS IN BABYLON. Between the Second and Third Parts, a Fantasia on the Horn, Signor Puzzi.—Part III. A GRAND MISCELLANEOUS ACT, which will commence with (fifth time in this country) THE CALM OF THE SEA AND THE RISING BREEZE, a Descriptive Chorus, composed by Beethoven. Further particular are announced in the small bills.—Principal Vocal Performers. Mrs. Salmon, Miss Goodall, Miss Forde, Miss Cubitt and Miss M. Tree; Miss Stephens, Miss Povey, Miss Love, and Madame Vestris, and Madame Bulgari. Mr Braham, Mr. Pyne, Mr. Terrail, Mr. Nelson, Master Longhurst and Mr. Kellner. Conductor, Sir George Smart; Leader, Mr. Smart.—On Friday next, the Grand Performance of Ancient and Modern Music will take place at the above Theatre, when will be repeated, for the second time in this country. The Lady of the Lake, by Rossini.

The Theatrical Observer (February 26, 1823): 2-4.

New Theatre Royal, Drury Lane.

Oratorios.

The Selections of Music which Mr. BOCHSA has hitherto produced this season, have proved highly effective, particularly, as he has obtained by unprecedented exertions the assistance of the first vocal and instrumental Performers in this country. The crowded audiences that have been attracted on the previous nights, testify the sound policy of the arrangements that have thus brought into one focus such a host of musical talent. Another feast of Harmony is afforded this evening, which is expected to be most numerously attended; as it includes for the second time, the performance of the Selection from ROSSINI’S Cyrus in Babylon. Mr. MOSCHELLES, also, we see, is to display his astonishing execution on the Grand Piano Forte.

This Evening will be performed, a Grand Selection of

Antient and Modern Music,

Under the Direction of Mr. BOCHSA,

A New and Splendid ORCHESTRA has been designed and decorated

By Mr. MARINARI, for these Performances.

PART I.

A GRAND SELECTION.

Overture to Esther………………………………………….. Handel.

Hymn of Eve, Miss Stephens………………………..………. Arne.

Air, Mr Kellner—Honor and arms………………(Samson)  Handel.

Recit. and Air, Mrs Salmon—From mighty King  (Judas Mac,)  Han.

Trio, Mr Terrail. Mr Pyne, and Mr Kellner, and Chorus—Disdain-

ful of danger…….…………………..(Judas Macc.) ……Handel

Recit, and Air, Miss Tree—Farewell ye limpid streams (Jepth.) Han.

Duetto, Miss Cubitt and Miss love-O lovely peace (Macc ) Handel.

Luther’s Hymn, Mr Braham

From Beethoven’s Celebrated Sacred Oratorio,

THE MOUNT OF OLIVES.

Recit. and Trio, Miss Goodall, Mr Braham, and Mr Nelson—O

children of our Father.

Grand Chorus—Hallelujah! to the Father.

Between the First and Second Parts,

Scena ed Aria, Madame Bulgari, [3rd appearance,][1]

Ciel clemente . . . . . . Morlacchi

A Fantasia Extempore on the Grand Piano Forte,

Mr. Moschelles,

In which will be introduced the favorite Air “We’re a’noddin”

(His last appearance but one at these Performances)

PART II

(Second time in this Country) a Selection from Rossini’s Oratorio,

Cyrus in Babylon.

With English Words, translated and adapted from the Italian.

Overture.

Introduction and Air, Mr Nelson, and Chorus—The Babylonias re-     joicing for their victory over the Persians.

Recit. and Duet, Mrs Salmon, and Mr Braham—Belshazzar’s me-     naces to Amira, and her Fidelity to Cyrus.

Chorus and Air, Miss M. Tree,—Cyrus’s sorrow for his fate, and ex-     hortation to his companions to revenge him.

Trio, Mrs Salmon, Miss M. Tree, and Mr. Braham—The interview     of Cyrus and Amira discovered by Belshazzar.

Air and Chorus, Mr Braham—Belshazzar in consternation, demands     from the sages an interpretation of the hand-writing on the wail.

Recit. and Air, Mr Pyne—Daniel denounces the wrath of heaven     against Belshazzar.

Air, Mrs Salmon, with Violin Obligato. Mr. Mori—Amira’s lamen-     tation at the approaching death of Cyrus and her son.

Finale, Mrs Salmon, Miss M. Tree, and Mr Nelson, and Chorus—     The deliverance of Cyrus.

Between the Second and Third Parts,

A Fantasia on the Horn, Signor Puzzi, in which will

be introduced the National Air, “ Rule Britannia,”

PART III.

A GRAND

MISCELLANEOUS ACT.

Which will commence with,

(Fourth time in this country) a Descriptive Chorus, composed by

BEETHOVEN, translated and adapted from the original German of the

                        eminent Poet Goethe, entitled

The Calm of the Sea and the Rising Breeze ;

The Solo Parts by Miss Povey, Master Longhurst, Mr Terrail, and

Mr. Nelson.

Air, Miss M. Tree—O say not woman’s love is bought……Whitaker

Recit. and Air, Mr Braham—Sound an alarm   Chorus—We hear, we hear…………………… (Judas Macc) Han.

Cevetina [sic], Madame Vestris—O quante lagrime….…….….Rossini

Recit. and Air, Miss Forde—Tritler, forbear……………..…….Bishop

Recit. e Rondo, Mr. Keliner—Saziati Ingrata. . . . . . (Davide) Ziagaretti

Trio, Miss Povey, Miss Forde, and Miss Love—Blithe are the bowers         Of Mosely…………………………………………………..Kelly

Grand Chorus and Solo, Mr Terrail…………………………….Handel

Around let acclamations ring.

Bless the true Church and save the King.

Principal Vocal Performers

Mrs. SALMON	Miss STEPHENS,
Miss POVEY,	Miss CUBITT,
Miss FORDE, and	Miss LOVE, and
Miss M. TREE,	Madame VESTRIS,

Miss GOODALL,

Madame BULGARI, (her third appearance in this country)

Mr. BRAHAM,

Mr. PYNE, Mr. TERRAIL,

Mr. NELSON, Master Longhurst, and

Mr. KELLNER,

[His second appearance these two years.][2]

The Band will be numerous, and Complete in every Department.

Leader, Mr. Smart.

SIR GEORGE SMART,

Will conduct the Performance, and preside at the Organ, built by

Mr. GRAY; and Mr. WATSON superintend the Chorusses [sic].

Playbill (February 25, 1823).

….

To-morrow, A Grand Selection of ANTIENT and MODERN MUSIC, (under the firection of Mr. BOCHSA.) Including CYRUS in BABYLON, by ROSSINI; and a Fantasia Exmtempore [sic] on the Grand Piano Forte, by Mr. MOSCHELLES, his last appearance but one at these Performances.

[GB-Lbl Playbills 56]

The Times (February 25, 1823): 3.

NEW THEATRE ROYAL DRURY-LANE.

TO-MORROW EVENING, Feb. 26, a GRAND PERFORMANCE of ANCIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA. Part I.—A Selection from the works of Handel, Haydn, Mozart, Beethoven, &c. Between the first and second parts, Air, Madame Bulgari, a Fantasia extempore on the Grand Pianoforte (in which will be introduced the favourite Air “We’re a’ noddin)”, Mr. Moscheles. Part II.—Third time in this country) a Selection from Rossini’s Sacred Oratorio, CYRUS IN BABYLON. Between the second and third parts, a Fantasia on the Horn, Signor Puzzi. Part III. A Grand Miscellaneous Act, the particulars of which will be duly announced. Principal Vocal Performers—Mrs. Salmon, Miss Goodall, Miss Forde, Miss Cubitt, and Miss M. Tree; Miss Stephens, Miss Povey, Miss Love, and Miss Paton; Madame Vestris, and Madame Bulgaro; Mr. Braham, Mr. Pyne, Mr. Terrail, Mr. Nelson, Master Longhurst, and Mr. Sapio, Mr. Kellner and Signor Curioni. Conductor, Sir George Smart. Leader, Mr. Smart.

---

[1] Square brackets are not editorial.

[2] Square brackets are not editorial.

Air, ‘Let the bright Seraphin’—Miss Stephens, Mr. Braham

Reviews

The Morning Chronicle (February 27, 1823): 3.

ORATORIOS.—The Oratorio was last night performed at Drury-lane Theatre, to which house, it seems, these Concerts are to be confined, in consequence of the inauspicious circumstances which attended the first performance at Covent-garden. There was little of novelty in the selection of last night. The Lady of the Lake, which was but coldly received on Friday, was not repeated. In the first part, which consisted of selections from HANDEL, BEETHOVEN, and ARNE; Miss STEPHENS sang, “How cheerful along the gay mead,” with her accustomed sweetness; and Mrs. SALMON’S unrivalled powers of execution gave effect to the air, “From mighty Kings,” from Judas Maccabæus. These were the only airs allotted to those distinguished Vocalists during a protracted performance of nearly five hours. Mr. BRAHAM was encored in Luther’s Hymn, which he sang in a style of simple grandeur, the effect of which was unimpaired by any of those abrupt transitions or redundant ornaments in which he too frequently indulges. Madame BULGARI, who made her debut at Covent-garden Theatre, when the embarrassments inseparable from a first appearance must have been increased by the tumultuous state of the house, sang an aria, by MORLACCHI, with increased spirit and confidence, and was encored. A fantasia on the piano-forte was performed by Mr. MOSCHELLES, in which he introduced several popular airs. The style of this artist is distinguished by some striking peculiarities; its general characteristics are passion and expression, and he executes the most intricate passages with extraordinary rapidity, brilliancy, and precision.—The selection from ROSSINI’S Cyrus in Babylon was performed for the third time. The music of this drama, which contains little to remind us of the author of the Mosè in Egitto, was heard with languid indifference. The state of the house, which was but thinly attended, contributed to increase the general heaviness of this night’s performance.

The Theatrical Observer, vol 1, (February 27, 1823): 1-2.

DRURY-LANE.

Last night, another brilliant and crowded audience honored this Theatre, in consequence of the admirable Selection, which was given by Mr. BOCHSA for their entertainment. The first part consisted of pieces from HANDEL, FR. ARNE, and BEETHOVEN, and comprised several enchanting Airs by the chief vocalists. Miss STEPHENS, gave The Hymn of Eve, with exquisite tenderness and feeling, and was rapturously encored. Mrs SALMON was no less successful in the recitative and air, “From mighty kings,” and KELLNER sang “ Honor and arms,” with great effect. Luther’s Hymn, by BRAHAM, was as might

have been anticipated, a great effort, and appropriately applauded. MADAME BULGARI went through an air. (Ciel cemente) with succees [sic], and appears an improving singer. MOSCHELLES, performed a Fantasia extempore on the Grand Piano, with a brilliance, rapidity, and delicacy, assuredly never surpassed, and introduced several of the most popular airs, with the most delightful and enchanting sweetness.

Cyrus in Babylon was repeated for the third time, with good effect, although several airs were omitted. Signer PUZZI again astonished the audience, with a Fantasia on the Horn, surpassing some of his former efforts.

The Miscellaneous Act was well selected, the whole performance abounded in variety and admirable talent. Miss FORDE sang Trifler forbear,” with a power and sweetness not often equalled, and, we think, it forms no part of Mr. BOCHSA’S admirable taste and judgment to place her on each night of her performance, so late in the evening’s entertainment, we can have no objection to the other young aspirants to musical fame being put forward, hut it is by no means, like the rest of the arrangements, to put the duet of Miss CUBITT and Miss LOVE, “ O lovely peace,” and the air of Miss POVEY’S, “ But thou dist not leave,” in the first act, and leave Miss FORDE’S first song off to an hour too late, for most persons to wait. If Mr. Bochsa has no higher opinion of Miss Forde’s talent then to act thus, we would recommend him not to avail himself of it at all; we trust he will take the hint. The Trio, by Miss is FORDE, POVEY, and LOVE, was well sung, but at too late an hour to be enjoyed. We never heard more applause than was bestowed at various times upon the performances, and we are happy to observe, that with the exception of what we have pointed out, these performances increase in novelty, excellence, and general attraction, as the season advances.

Bell’s Life in London and Sporting Chronicle (March 2, 1823): 421.

ORATORIOS.—In consequence of the Oratorios at Covent-garden having been so unproductive, or, perhaps, from some other cause between known to the Conductor than to the Public, that house has been closed, and Mr. Bochsa has determined on opening Drury-lane two nights in the week during the usual term of the performances, and as far as the experience of the past week may be considered a criterion, he will have no reason to regret his determination. The house was extremely well attended on both Wednesday and Friday, and the performance on the latter evening, in particular, went off with more than usual eclat. On Wednesday night the Oratorio consisted of Cyrus in Babylon and Selections from Handel, Arne, Beethoven, &c. &c. The principal weight of which was sustained, and at times most powerfully sustained, by the energies of Braham. Miss Stephens, Mrs. Salmon, Miss Goodall, Madame Bulgari, and other ladies of less conspicuous abilities, also did credit to their respective parts; and the nimble-fingered Moschelles performed a Fantasia with infinite skill on the piano-forte. On Friday Rossini’s Opera of The Lady of the Lake, and a Miscellaneous Selection from the works of various Composers constituted the evening’s performance. Miss Stephens gave Let the bright Seraphini, and Auld Robin Gray, in her best style, and was encored in each, as also in the duet I love thee, with Mr. Braham. A note having been received from Miss Paton’s father, announcing that Lady’s inability, from an increase of her hoarseness and sore throat, to sing that evening, Miss Goodall consented to take Miss P.’s part in The Lady of the Lake, in which, considering the shortness of the notice, she acquitted herself most successfully. In Fact, she did so through the whole of her arduous performances. We are glad to hear testimony to the rapid improvement which this young Lady is making in her professional acquirements.

The Harmonicon, vol. I (April 1823): 59.

THE ORATORIOS.

These performances terminated for the season on the 21st of March. The speculation, it is said, has not been very successful; for though good audiences have been collected,—only one theatre being open,—yet the expence [sic] of paying for both Drury Lane and Covent Garden, in order to keep one shut up, and the high prices given to the singers, have it is supposed, consumed all the receipts. Whether the scheme was productive or not, we are unable to pronounce,—but we will assert that such a monopoly should be discouraged; particularly in such hands.

The principal novelty at those oratorios since our last, was the performance of PALESTINE, by Dr. Crotch; the words are those of a prize poem, by the Rev. Reginald Heber, now Bishop of Calcutta. This oratorio, though too grave in its character, and too ancient in its style for many, is certainly a very fine composition. Some of the chorusses [sic] are sublime, and a quartett, “Lo! star-led chiefs,” secures every suffrage in its favour.

The other performances during the month, were Cyrus in Babylon, portions of the Requiem,—of the Messiah, the whole of the Creation, together with a variety of Ballads, Airs, &c. Cyrus is a mere common-place opera; as such it might have that “brilliant success,” which is said to attend all novelties in the present day. But somehow or other, these brilliantly successful novelties often die very suddenly, and are immediately forgotten. Such is the fate of Cyrus, as an oratorio; such its fate would be as an opera.

….

The remainder of these “entertainments for Lent” were made up, as we have before remarked, of miscellaneous ballads, duets, &c. Miss Stephens, on one occasion, introduced her favourite recitative and air, “Auld Robin Gray,” with the usual effect. Miss Paton sang more than once that eternal “Sawye my wee thing” of which she is so fond,—but although tolerated and even applauded, we recommend this young lady to seek the support of the orchestra in preference to the simple accompaniment of the piano, played by herself. Her “Tu che accendi” was good.

We have noticed, we believe, all that required mention in these performances. May we hope that however desirable the concentration of talent may be, a second theatre for its exhibition will be opened next season!

The New Monthly Magazine and Literary Journal, vol. 9, (April 1, 1823): 153-154.

ORATORIOS.—These musical performances have been continued twice a-week, in regular succession, at Drury Lane during the whole of the past month, under the direction of Mr. Bochsa, whose exertions have been strenuous, and praiseworthy, both in producing a very great variety of new music, mixed with older compositions of established merit, and in engaging nearly the whole of the first-rate vocal talent in the metropolis, and appointing a complete and competent instrumental orchestra. Besides “Cyrus in Babylon,” noticed in our account of last month, the principal pieces of extent were,— “The Lady of the Lake”—Dr. Crotch’s Oratorio of “Palestine”—“The Creation”—“The Redemption”—Mozart’s “Requiem”—“Acis and Galatea”—“The Messiah;”—and there were a number of classic compositions, of minor extent, by a variety of great masters. As we have given our opinion of Rossini’s “Donna del Lago” in the preceding article, it is unnecessary to enter into a particular account of “The Lady of the Lake,” as performed at the Oratorios. The English text of Sir W. Scott forced under Rossini’s music, and the English singers, by whom the latter was executed, gave but a faint glimpse of the nature of the work. Proper emphasis and accentuation were wanting. Some individuals, whom we will not name, caring little for Rossini’s time, dragged on the notes ad libitum, made gratuitous pauses, cadences, &c., as if they were singing English ballads, and altogether seemed quite out of their element. One lady, in particular, appeared quite abroad, and under constant suffering, from the correct time in the accompaniments. The choruses, however, told, upon the whole, much better than at the King’s Theatre, because the singers were not only more numerous, but decidedly superior. Dr. Crotch’s “Palestine” would be infinitely more interesting if it were only half as long. Its duration wearies the ear and spirits. A selection from it would have been preferable at the Oratorios. It is a scientific, skilful, and meritorious com position; a mixture of old and modern style. Two or three of the melodies are particularly good; but, upon the whole, the Oratorio is not so much distinguished by novelty and sweetness of musical ideas, as by the richness of its harmony. Many of the harmonic combinations are of the first order, others produce a grand and striking effect; the accompaniments possess the utmost variety, and some are peculiarly elegant. The singers and orchestra exerted themselves laudably to do justice to the composition. Among the numerous solo-players on various instruments, the performances of Mr. Moscheles on the piano-forte created the greatest interest. His execution certainly baffles all description: it is beyond what we conceived the piano-forte capable of, until we heard him the winter before last. His play, no doubt, will give a new impulse to our own artists. As a composer, too, we consider Mr. M. to hold an eminent rank. His ideas are as original, vivid, and tasteful, as his play. The Oratorios have invariably been crowded at every performance, by audiences the most respectable; so that Mr. Bochsa is likely to be amply rewarded for his unremitting efforts to satisfy the expectations of the musical public.