THE LONDON OPERA DIRECTORS.' A l f Anecdotic Memoir of Principal Idea Connects! Hh be Ilrctlua of 0er-IuolenU r Hanngenient, with RemlaUcenoM of , Celebrated Composers,' J.eadlnsr Nlu em, JEte. Etc. BY THE AUTHOR OP "QUEERS OF SONG.'' In ie-18 Covent Onrclen Thr-atre was taken by Mr. Pelarleld, a yountr man. wbo uad rM!ently attained his majority, ami come into possesion tt a fortune of one LimUiud thousand pound?., lie wan, it unfortunately happened, totally Lino Tant of even the nio-t ordi nary practical detail ol the niniiatremrnt ol an oneratic PstiiblisuiiK-iit, nd was obliged to depend on others lor advice in the commonest manors connected with the theatre. , , ... , , . The projecUn which he issued declare 1 that the Royal Italian Opera was commenced with a view to "(be eil'cctive representation of opera "by the mo.it eminent composers, without dis tinction of country." There was a certain uomaly involved in the title of the Royal Italian Opra but the works were sung In Italian, so it passed unquestioned. EveijIhlnfZ was done on a scale of almost tin pal n lie ted splendor, and truly reckless prodigal ity. The younc; manaper spared no expense in the plans which belaid out lor thp production ot the various operas scenery, orchestra, decora tions, all were mngniticent. JIM. Grieve and Telbin were the scene painters. The celebra'.el chet d'orchestra, cMnuor CoRta, and his accom plished artists, were retained, strencthencd by the assistaueo ol some ot tlie most brilliant mufdeiuns of Italy, trance, and Gcrmuny. r God frey's military band was al o engaged. Mr. Alired Mellon was leader ot the ballet. Every department was well tilled. To nearly every singer in Europe Mr. Delalield offered engage ments. The vocalists who accepted his proposals were Mesdames I'eisiimi, Al bcui, Castellan, Grisi, and Viardot; Sitrnori Mario, Tamburini, Rouconi. The chief dancers were Mademoiselle Fabbrl uud Lucille Urabn. The general management of the business affairs of the theatre was entrustod to Mr. Frederick Gje; and it could not have fallen into better hands; lor this gentleman bad had preat experience, and he was well adapted, by his practical knowledge, urbane and courteous man ners, and unfailing determination to preserve discipline, to conduct the affairs of an establish ment liketh Royal Ita'ian Opera. Mr. Ponteau was his iubordirinte, looking to matters in front of the house The stage manager was Mr. Alfred Harris. One of the primary mistakes was the over whelming expense entered into. With the hope of retrenching the director was induced to commit another well-nigh latal error to dismiss a large number of servants and staee supernumeraries thus materially injuring the beauty of the groupings in some of ' the operas where numbers were indispensable for eti'ect, such as the scene of the gathering of the clans in the Donna del Logo and the riot scene in the liwjuenots. The' consequence was, that when Mr. Buun brought out the Lady of the Lake at Drury Lane, comparisons un favorable to the Royal Italian Opera were made "bet R'een th .lendor of his scene representing gathering of tu2 clans, and the scanty grouping on the stage representing the same Hcene in the Lonna del Lago, The performances, however, were, aj a whole, Of a magnificence which almost eclipsed those pf the older house, although Mr. Lumley not only had secured the great singer who had tile preceding season driven London out of Hs senses, but had besides drawn topettier a most excellent company, and brilliant dancers Marie Taglioni, Cerito, Rosati, Carlotta OriA, and M. St. Leou. By the production of La Favorita, Lea Huguenots, and other works, on a scale of splendor never attempted before, the Royal Italian Opera was raised to the position ol being one of the very first operatic establishments iu Europe. The announcement of Pauline Garcia's first appearance created an immense sensation in musical circles. Nine years before, when a girl of eighteen, she made her debut in Englaud at Her Majesty's Theatre. She had then, in the character of "Desdemona," aehieved a veritable triumph. The girl of eighteen was, by universal acclamation, placed ' in the same rank with her sisier Maria Malibran, with Pasta, and with all the famous voca lists who had preceded her. hue had appeared acain the year subsequent to hei marriage, 1811. By 1648 horpenius had matured: she had passed from triumph to triumph in all the leading continental cities. So much had been predicted of her before she appeared, that the house was crowded on her first night. Bhe came belore the public trammelled by circum stances which would have entailed irretrievable ruin on an Interior singer; her marvellous genius alone enabled her to surmount these cruel dis advantages. So agitated was she when she stepped on the stage, that her trembling was apparent to all parts of the house. It was not until she bad been heard in the llugue nota that she gained her right position. At the end of the season Guiliaume Tell was pro duced. There was an intense excitement in the musical world when this opera was annottced. Nothing was neglected by the maiutger which could render the performance Irreproachable. The band and chorus were laultless, the mise en tcene magnificent, the singers admirable but, f rom a variety of causes, the opera was a failure; the chitt reason perhaps being that it was brought out at the very close ol the season. The expenses had been almost rack lew. In the vocal department, 33,849 had been laid out: on the ballet, Jtbl05. One dancer alone, Lucille Grahn, had received 1120. The orches tra had cost 10.048. When the season terminated rumors were cir culated speaking of utter ruin as certain. For once, rumor was correct in its surmises. Mr. Lumley had strained every nerve to carry his establishment successfully through the sea son. The command ot the orchestra was con tided to Mr. Unite an appointmont which met with ihe unanimous approbation of the sub sciibers and ot the general public. Mr. Sims Reeves essayed the Italian stage as "Carlo," in the opera of Linda. He appeared only once; for his favorite part of "Edgardo" having been lakvn ny Mgnor uaraoni, ne llirew up his engage ment In anger. The trial was of unusual ditli- culty, as it was then ol rare occurrence that an English singer ventured on the boards of the Italian stage, lhc seasou closed with every uiwaiu signs oi prosperity; yet embarra-ss nients were harassing the Director on ull sids, Mr. Delaneld renewed his exneriuient in the following year, wisely determining to reduca iiis expenses, ai ine very outset ne committed sn error, in allowing Alboni to r o over to Her Majesty's Theatre. The treat interest of this eeusou. m .Loudon as well as in Paris, was ce.n. tred n Le Frophete. Madame Viardut perlormed lut-B" now granuiy, uis needless to recull isue nan taken the character when the work was brought out in Paris. The any aiier tue hist representation, Meyer oeer wrote B deeply gratehd and trrutl fying letter to the m-ima douna. "I epaswl inr an instant to remember that I was the author of me wojk, uc sum. xon had trautoriued me into a breathless and excited auditor of your Impassioned and trutlilut accents." What praise this was, coming from Meyerbeer, need not bo suggested to tliore who knew anything of the fastidious disposition of the ore lit lfVYl IWMlr Alter the fourth representation Mr. Harris went over 10 runs 10 wi'ness me minemacen' pre paratory to tne production of the opera at the Koyal Italian Opera. Mario went to judy Roger's interpretation ol the part of "jean ot L,ejiicn." catuerinf naves took the char acter ot ' uenna," oripmully perlormed by Madame Castellan. Even the subordinate char- actera were excellently filled. Everything was done to lender the performance splendid aud attractive. The scenery was gorgeous, the dresses new aud cosily; the decorations, proces sions, the entire arrangements, m tact, magma cent and spurkimg. ine stating scene wits a marvel of art. To mount four operas only le Frophete, Lea flugutmote, Lucre.ua Borgia, aud La Donna del Lugo (Obt twtuty-flve tLoiibHijd jivumir, THE DAILY EVENING TELEGRAPH. PlffLAJJELPIHA, FRIDAY, JULY C, 18(10, At her Majesty's Theatre. Mr. Sims Reeve repeated his essay. The great attractions of the season, however, weie the return to the stage of Madame Sontag the Coun tess Rossi and the debnt or Mademoiselle Parodi, favorite pupil ol Madame Pa;a. Both these events caused the keenest curiosity and e pectation. The reappearance of the Counter Rossi, alter on absence of twenty years, created a furore, although she did not achieve a real suc cess Her sad, romantic history, the recollec tion of what she had been, snrmises as to how she would now sine, with many other reasons, threw an additional interest around her name. It fcbe arrived too late to insure the prosperity of the season, she t least rescued the theatre and the manager h jm ruin. She lilt d Her Maies ty's Theatre Irom the difficulties into which it had been thrown by the retirement of Jenny Lind an event which had so seriously injured the director ihathe regnrded it as 'le commence ment do la fin." The Sontag furore promised to equal the Llnd mania; again, strangely enouph. the old legends were circulated iu a new lorm. Concerning the success of her favor ite pupil Mad'lle Parodi M'me Pastn was deeply anxious. She wrote warmly to tue director of Her Malcstv's Theatie. recommend- Ing ' la mlu Teresa ' to his care. The veout ot the young lady, however, resulted In disappoint ment to ail. Many causes combined to entangle Mr. Lum ley more iatally day by day. In despair he wrote to Rubini, imploring bis help. "Once more," he said, "you will save a friend vm will savetliis great establishment." "Your letter has touched me profoundly," the great tenor replied, "but it cannot be. A thousand circumstances render my reappearance impossible. It costs me more than you can suppose to persist iu this resolu tion; but I must abide by it you cannot, must not, count on me." Further correspondence ensued; the most urgent appeals were made by Mr. Lumley, but Rubiui was Inexorable. The season terminated. It had not been a hat py one for the Director of Her Majesty's Theatre. Mr. Delaticld was a bankrupt. Iii his schedule there was almost every imaginable description ol' creditor nobhmen, shopkeepers, newspaper proprietor", singers, dancers, diessmakers, hoiel-keepers, mechanics, architects, the baud of the Cold stream Guards, engiavers, tailors, prompters, gas-Utters, a pas company, rope-makers, police commissioners (for the atteudauce of constables at the theatre), bankers, chimney-sweepers, tue proprietors of Waterloo Bridge (tor exhibiting bills), etc., ad infinitum. Besides these, nearly every one engaged at the theatre, Irom prima donna to lamplighter, from Mademoiselle Angrl, a Greek singer, who demanded eighteen hundred pounds, down to the pettiest hanger-on, was credited with various amounts. He disappeared, but for years his mad speculation was not forcotten, and the gossips amused themselves with vain surmises as to his ultimate destiny. Overtures were made to Mr. Lumley, on the Fart ol the gentlemen connected with the Royal U liau Opera, to merge both operas in one, and advantageous terms were offered him to retire from the management of Her Majesty's Theatre, in order to facilitate this design. These terms he declined to accept, having already entered into other plans. At this time he was desirous to obtain the direction of the Italian Opera in Paris, then iu the hands of Roncoui. Intrigues, hostilities, mischances of every kind were op posed to his project, but he persevered until he gained bis wish. Covent Garden Theatre opened in 1850 for its fourth season, under the direction ot a republic, or whicU Mr. 'Jye was a member if not the enter, wr. uye's energy was indomitable, his Industry untiring, and his influence despotic. in every way he was eminently nttea to rule a vast oppratic estaotisnment. ne ovenooKeu tue moBi minute aeiaua in eacu department or tne musical arrancements notning escaped nis notice. The principal aim of the directors was to give the operas of the grand French school, and to produce them in the utmost splendor and completeness. Their greatest successes were achieved by Lea llumenots, Moaanictlo, Le jfrophete, nnd Jiohert te Viable. It was a year ot splendid per formances, memorable for many reasons. The i-omnanv and the oneras weie both admirable: the band nnd chorus were pronounced to be the finest in Europe. The leading female singers were Mesdames Castellan, Vera, Dc Meric, Grisi, and Viardot: the male sinpers were Formes, Tamberlik, Zelger, Mario, Tamburini, Ronconi, and otuers. it was during mis season tnat Sianor Tamberlik made his first appearance in England. He at once became a favorite, although, judged by the highest standard, he was by no means a pertect or nigniy finished artist. He was one of the handsomest men ever seen on the stage; he was endowed with a beautiful voice, and an incomparable accent in pronouncing Italian, und he had a power of energy and sympathetic warmth which enabled him at any time to carry away his audience. The unlucky costume worn on his first appearance in Moise excited much laughter from its absurdity. He camo on the stage with bure arms, ou which were placed gold bracelets; he wore a spangled petticoat and uodice, and had false hair plaited at the sides ot his lace. Aitnoupn he nail a superb ngure. and a profile exquisitely chiselled as an antique cameo, yet attire so ridiculously disfiguring nearly ruined his own chance of success, and endangered tue opera, tierr formes, this season", iujudiciouslf attempted Italian opera, in which he disappointed even his most aruent admirers. Mgnor Jiano, too, disap pointed the public by his lncllicieucv in the part of "Eleazar" ("La Juive"), a part which, it was said, he had most anxiously desired to nerform. air. Liumteys aimcuuits increased daily, and ne tell tnat notning couia save his theatre. None of the new singers excited the slightest sensation, aitnougn many were tried, ine event ot the season was the production of La Tenme&ta. an onera written exnresslv for Eng land bv MM. Scribe and Halevv. Everv re source aitorded Dy iter Maiesty's Theatre was 1 i - i ; - it.!. ...Til. .a-, i m rmpioyeu io uriu;; out tuis witu euect. me best singers in the company were assembled to render it with spirit. The "Caliban" of La- blache, the "Miraude" of Madame Sontap, and the "Ariel" of Carlotta Grisi, created a tempo rary curiosity. Both compof-er and librettisl came to London for the purpose of superintend ing tne last rehearsals ol the work. To cele brate the nrrival ot these eentlemeu. Mr. Luui ley gave a rand dinner, at which many men of nign runs ana distinction were present. In the opera, the popular air by Dr. Arne, here the bee sucks," was emploved bv the composer lor the pantomimic music of Ariel, aim as tne unaic oi ine piece, unluckily tuts was the only morceau in the three acts which obtained universal admiration. The character ot "Caliban" was the last, as it was judged by Bum-. ,v u I'l l u li I ! ,111 ui-i ijiraiiuu Ul IjU- blache. It became the "town talk" tor a whilu. au i was jiihiiy regaroea ns a masterpiece. To the great surprise of the frequenters of iter !N1HH'M 'a 1 iieim'p. nmdanin I'nstn gmwiinv for one night at the closo of the seasou. She was then sta.vinp lor a ehorttime witM her nunil. Mademoiselle Parodi. Never was singer more lll-aaviscu tuan ine once mighty Uueen of Song, in thus conseutiusr to pass across the scene ol her former triumphs. The tine phrasing, the laultless style, the praud declama tion, the classic severity of taste, were, it is true, still remainiug: the rest was not to be conjured up by the imagination. Her voice, always veucu aim nusKy even in us prime, was utterly gone. She had the mistortune to be drest,td in tho most disfiguring mauuer. Yet. as one of tl.e reigning Queens of Soug (Madame Viardot) cried, looking at this noble ruin, it was like the Cciiucolo of Du Vinci at Milan a wreck of a pictiae, but that picture the greatest picture in the world. Mademoiselle Parodi continued vaiu'y her eilort to attain the place which she ambitiously coveted. Mr. Lum ley yati now obtained tho lormal con cession ol the Parisian Italian Opera, Like ull similar concessions under ttiw regulations then existing In France, it was hitn percd with conditions of a most embarrass. 112 uuture coud tious minutely described in Mr. Lumley'e "Ri miuisceucee." Some of them are io.-ilivt'i tin icious. lie lo-t, in the two disas trous eeartms ot ISMMand lb51-2, while director of the Italian Opera iu Paris, nearly five bun tfmi ILcntitud francs, or twenty Uioueuinl pounds. With many institutions of superior Im portance, the Unban Opera was shaken to its foundation by the covp d'etat ot December 2, 1851. The fiction of the operatic republic ol directors at Covent Garden Theatre wag drooped in 1851, when Mr. Frederick Gje declared himself sole manager. The ellecto of a spirit of ordor and judicious discipline were soon perceptible. A wiso retrenchment was the first step taken. Every one In the theatre, from the prima donna aaaoluta to the very doorkeeper, willlnsly sub mitted to a reduction ol salary, and this reduc tion, combined with a generally vigilant admin istration, changed the entire aspect of alfair at tho Royal Italian Opera. From that time, Mr. (Jyc has continncd, year after year, to eovcru his empire with perfect Judgment, carrying over season alter season successfully. Tills season 1851 his sinpers were Mes dames Grisi, Anert, Castellan, Viar dot, and Louisa Pyne; MM. Tamberlik, Formes. Tnpliatico, Ronconi, Mario, Tamburiui, etc. Miss Pytie had never, until tills season, attempted Italian opera; and the essay was all the more wonderful in its success when it was considered that she replaced another sineer (MadTle Zerr) at an hour's warning. At the end ot the season, M. Gounod's baJTo was produced, aud proved a failure, Irom causes Into which it is unnecessary to enter. . v fcrijj In 1851, tho year of the Great Exhibition. Mr. Lumley was sttll struggling against his adverse late. lie had two charming dancerr, Mesdames Ferraris and Carlotta Grisi; but nil interest in dancing had died out in London. Even at the Royal Italian Opera it was aban doned, except a an adjunct to the Opera. Mr. Lumley had a long list ol singers, the most attractive of whom w as Sophie Criivclli, who was greatly admired by some, and heartily abused by others. Her "Fidelio," in which she was ably supported by Mr. Slim Reeves, crtated a sensation. The last "event" of the season occurred on the night when Mr. Balte, the conductor, took his benefit. That eminent composer's own opera, Lea Quutre I'Ua d'Aymon, was performed for the first time ou the Italian stage under the title of J Quattro Fratelli. Already it had enjoyed much popularity in its French, English, and German lornis. The work was received with lavor when presented in Italian. Sophie Crnvelli, with Gardoni, Pardini, Colettl, and Mas.-ol, per lormed the opera in a spirited and etfective manner. Mr. Lumley entered on. his campaign in 1852 with the faintest hopes of success. Uncertain- tics and difheumes attended on his prepara tions, causing the theatre to open unusually laic. It was generally supposed that the thea tre would not open at all. Perhaps the heaviest mislortune which befel him was the "Wagner quarrel," the details of which unhappy all'air It will be needless to recapitulate. To this inn- broglio he attributed chiellv his downfall. This quarrel seriously injured not only Her Maiesty's Theatre; but the Royal Italian Opera. The history of this season is a dismal one. The unexpected lli.eht of Sophie Cruvelli was anotner mow to ine uniortuuate manager. Countless embarrassments followed each other. Actions at law meniced him on all sides, both in London nnd in Paris. In this crisis several noblemen and gentlemen, influential among the mends and patrons oi tier Maiesty's Theatre, convened a meeting of the subscribers to con sider the bast means of aiding the management to carry on the enterprise to the end of the season. A committee was appointed to receive subscriptions in support ot the establishment. and to regulate the manner In which Ithe sums thus raised should be . disbursed. The scheme, however, aitnouga partially car ried out, did not save the house. Early in the season, Mr. Lumley had con ceived the plan of forn ing an association for the purpose ot carrying ou the affairs ot tho upcra jtiouse oi organizing a loint-siocic com pany to undertake the nnanciai and speculative section of the directorship, while he himself continued the management. In this design he w:as cordially assisted by many noblemen nnd gentlemen, but it was found impracticable. At mis juncture, tan lmaicy linen i,ord Ward) was somew hat desirous ol becoming director of the theatre. At last the doors of Her Majesty's Theatre closed, not to reopen for three years. It was evident that the "old house" had succumbed Various plans were 8U2ge8t,d by those interested in the estaoiisnment, duc none arrived at any tangible result, ine loiiowmg year, ine "pro perties" of tho theatre were announced for sale, under a claim oi tne ground lamuoru, who, in lhut), had advanced on this security a sum of ten thousand pounds. To prevent the dispersion of these valuable theatrical accessories, the ori- cinal cost of which had been estimated at twenty-three thousand pounds, it was arranged that ihev should be purcutised in the names ot Loid Ward and Sir Ralph Howard, upon se curity atforded by Mr. Lumley. Sir Ralph Howard shortly alterwards relinquished his claims to Lord Ward. At the beginning of 1853, ioru warn was sun anxious to rate ine manage ment, and entered into negotiations with dif- lei ent singers; and directions were given that the theatre should be held ready to open at a moment's notice. Suddenly, however, ho abandoned the protect, in conseci uence of dilli dul ties interposed by the principal creditors. His connection with the theatre had com menced in the previous year, when he had taken a decidedly prominent part in the tamous committee meeting. An action of ejectment was broupht against Mr. Lumley by the ground landlord, upon the pica that a violation of the terms of the lease had been committed by the lessee. This vexa tious suit was carried on throuerh rears. Some efforts were made by the Director of Covent Garden to obtain the theatre. At one time, early in 1854. Mr. Benedict, the celebrated composer, had an Idea of taking the theatre under his direction. After a few months of fruitless negotiation, he reltrquished the design. Mr. E. T. Smith, lessee ot Drury Lane Theatre. then came forward, but he also recoiled from the overwhelming difficulties and heavy respon sibilities or tne undertaking. Fortune hud smiled oa-the Royal Italian Opera during tho season of 1852. Several new singers had appeared, the most re markable of whom was Madame Bosio. At first this charming sinerer made 'little ira- piession, and it w as not until a sudden revela tiou showed the beauty of her voice and the re fined nature ot her talent to the opera-going public, thut sne gained the place in their esteem and a-lmirafiou even in their affections which she never lost. The next season, 1853, was also successful, although the sinpers, with few exceptions, were ODly moderately dislin guished. The band still continued most admi rable, and had become, under its leader, Mr, Costa, one ot the most lamous in Europe. Mr, William Beverley was at this time sceue painter; Mr. Harris tetalned his position as stage mana per. A profound sensation was cieated in 1854 by tho first series of Madame Grisi's many fare well performances. In spite of the gloom cast by tbe warover ioiKiou society, tno oriei season ot lwiira me most prosperous sinco the opening of Covent, Gulden Ihtutie hs an opera house in 1847. A terrible blow nearly ruined the duector before the commencement ot the season of lnoi tlm total destruction by tire, not only of the house Ittelt. but of a vast auactitv of valuable pro uertv which had been accuiiiulatiiieduriii" nine venr"'. ihe mus cal library, the scenery, the cos- i limes, and other accessories of more tnau titty operas. This, the ereat oueratio event of the j tar, naturally created an extraoroinary sensa tion. By many it was thoupht hoped ur feared, as interest dictated that the days of Italian Onra In London were ended. Fortu nately H happened that the Lyceum Theatre was untenanted, und tho director of Covent Garden us enabled to secure it as a harbor of rel'i'ge for his hand, chorus, Hnd pnncjoal artists. Ho made monosals for Her Jiaies t.y's Theatie, but Mr. Lumley nad hurried to .Liouuou irom raris, witu tne nopo oi reopenm ni.- nouse. Lord Ward was desirous ol bringing tho (fairs of Her Majesty's Theatre under Ins own control, although be bad relinquished his id'-'a cf takinp the main practical direction into his bunds. He had bought up tho various Incum- 1 ..... t.!.. A 1 . I ...,- I. ... iTUuies wuicu xe--ieii upon tne esiaoiiBuiueui, Mid was tow the jnc-t powerful creditor, acquiring a far larger interest in the theatre than the proprietor. The fingers engaged by Mr. Lumley were Mesdames Plccolomtni, Alboni, Johanna Wag ner, Albertuil, etc., and somo excellent male singers. The danceis were Kosati, one of the most artmired etoxleaae la aanae, ana Marie Tag- lioni. The conductor was Signor bonetti. Judging by appearances, it would nave seemed as if the "old house" had completely regained its snclent prestige. The theatre was crowded every night, and there was every outward sign ot prosperity, ine euoscrioers were no yiuivn-u to rind themselves within the familiar precincts of their favorite haunt, that Mr. Lumley was summoned by them to receive an outburst of nmilause. The bright little star, Marietta Plccolomlni, created the most slugular enthusiasm she be came, In lad, "tho rage." Once more a mania posses-ed the public; this time without much Justification. Ths sprlchtly little Sardinian had no sound claims to be considered either an excellent singer, a fine actress, .or even- a beau tiful woman. Sho was not a great artist; Flic was rather a clever amateur full of fire, it is true, and determined to achieve success at any cost. However, her audlPnces yielded to the peculiar fascination which she exercised over them. From the time of her debut, the fortunes of the theatre were assured for the season. At both houses at Her Maiesty's and at the Lyceum the season was unusually successful. mere was a econa provisional season at tue Lceuni Theatre, under the direction of Mr. Gve. The director of her Majesty's Theatre, Mr. Ltim- ley, still hoping to contest the held successtuiiy with his partially disabled rival, opened nis doors during le67. It was a desperate, but far from Lappy etfort. Nearly all the singers were new to the Lngiuh public, lue oniy one wuose appearance, however, was attended witu legiti mate success, was Signor Giuglini. The exqui site quality of h:s voice, the elegance of his style, and his handsome person, despite his un doubted deficiencies as au actor, won popularity for bini on the nlpbt ot his w bul. Mguor liiiig- lint hud originally been destined for the priest hood, and had been remarkable in nis ooyuooa nnd early youth as a singer in the choir of the metropolitan church of Fermo. His excellence first as a treble, and afterwards as a tenor- attracted general nonce, and many euorts were made to tempt him upon the lyrical stage. These ell'orts he resisted lor a lonp time: but at length it happened that a member or tne or chestra of the Fermo Theatre tell ill, when Signor Giuglini took bis place at a mo ment's notice. Soon alterwards, the prin cipal tenor was incapacited by sudden illness from appearing, and Signor Giug lini replaced him. . His success as "Jacopo," in I Duo Foscari, revealed the lovely quality of his voice to the musical judges ot r ermo; and from that time he decided to renounce the church for the stage. His knowledge of muMc was thorough, extending even to the art of composition, ine muuipu. oi tne new tenor wns the chief operatic event of 1857. Every other male vocalist seemed to be eclipsed by bini. Mr. Lumley mentions a curious peculi arity of taste when speaking of Signor Giuglini. "At this period," he says, "the principal passion of the great tenor was lor making -and letting off fireworks. It was one of those missions which almost amounted to a mania, and engrossed all his thoughts when not occupied with bis art. He bad come to be a considerable adept in nrework-m.tmng, and his enthusiasm in exhibiting his beautiful works, and his pride in success and applause. apparently equalled that which he felt in the pursuit of his musical career. A pantomime expression ot a 'atnarine wneei,' irom a friend in a side-box. would make him 6ing on the stage with redoubled spirit." Another of his fancies was for making and flying kites, formed in every variety ot eccentric device. The prima donna who sang with him in 1857 was juaocmotseiie spezzia a lan, nanusoine woman, with nn unpleasant voice. Mr. Lumley was anxious to revive the taste for dancing, which had died out. His prepara tions lor the ballet were organized on a most extensive scale. Lord Ward, who claimed from his position to be considered the adviser of the direcior, wrote to him before the opening of the theatre "It strikes me you have an enor mous oaiict. i no not Know now you win piace thein all." An experiment was tried by Mr. Lumley, in the December of that year, in the shape of a winter campaign "extra performances," at re duced prices. The success or tnis experiment, in a pecuniary point ot view, was beyond tne diiector's anticipations. Rumor declared that no new theatre would be built to replace the one destroyed by lire. It was not the first time that rumor fell into error. A theatre, new from its very foundation, wns commenced, built, and opened for public pertormauces within twenty-six months from the destruction of the old oue. it was a new ami maeuiueent; euiuce, raised on the ashes of the old Covent Garden TLiatie. The bouse was opened in 1858 by Mr. Gj e. There were four opera houses open that season Her Majesty's Theatre, Covent Gurdou, Drury Lane, and the opera liuua at the St. James'. The new theatre was more ample and f-plendld than any theatre hitherto existing in London. It was still in the hands of the decorators, car penters, and painters, when it opened on the 15th May. About tne opening oi tue new tne atre at the appointed time, speculation had been busy, and hundreds ot pounds had changed hands on the result. The Interior was found to be beautiful and commodious; the utmost care had been taken to accommodate the occupants ot every part of the house. The anxiety wnicn Mr. uye nad sunereu irom nis desire to keep faith with the public, aud his preat exertions, brought on an illness which conhned him to nis nouse lor weens, mo chief singers were Mesdames Grisi, Bosio, i Parena. ana Wantier-uidiee, mm. Mario, Tamberlik, Gardoni, Rouconi, Tagliatico. Mr. LiUinley had discovered another prize another new singer, who was destined to gain the laurel crown of a Queen of Song. This was Mademoiselle Tietjens. The season did not begin until after Easter, and therefore much depended on the success of the first night. The llugvenola was selected as the piece for this important occasion. Every nervn was strained by the Director to render this production as effective as possible: every effect that could be commanded by scenery, dresses, and general appointments, bad been studied and executed with the minutest care. The singers rivalled each other In zeal. The last rehearsals ex cited much interest and oxcitemeut; and the curiosity ot the privileeed few who could obtain admission on these special occasions was highly aroused. Made moiselle Tietjens naturally felt most anxious regarding the coruinsr ordeal. "How much she felt this critical position," observes Mr. Lumley, "was evidenced by her bursts of artistic anima tion and excitement at the rehearsals. As her poerlul voice rang through the theatre, and excited the plaudits of all present, the latent fire ot Giunlini became kindled in turn, and, one artist vu-ing with the otuer in power and passion of miiMcul declamation, each rehearsal became a brilliant pertormance." Indeud, so strongly were both artists und connoisseurs iiiipiessed with the merits of Mademoiselle Tietjens, that fears were expressed leaf she should utterly swamp the favorite tenor. The-'e fears were groundless. At this tune the director found himself m ereuter dilliculiics than at any previous period. The nobleman who had hitherto been his friend suddenly changed to being his most urgent cre ditor, refiisiuc the ilightest concession. Ljrd Ward pressed for three quartets' lent (4000), and eent bini notice that if the money was uot immediately paid, Mr. Lumley must be prepared to give up possession oi the theatre Into his lord ship's hands. The opening night was encouragine. Tho Queen and Court were present, aud everiibinir seemed blight and propitious. Theto great sincers were nervous, but the opt-ra went oil well. Giuglini was m ecstasies when the director told him, on the stage, that tho Queen was to be present. The reception ot Mad'lle Tietjctiswas enthusiastic. Giuglini wai resolved to xert himself to the utmost, lest he should t entirely eclipsed; so both-voiee were hoard t the greatest possible advautage. Iu a verv short time Mad'lle Ti-tlens fairly established herself 10 the favor ol the frequenters of the Opera, At tho end of the regular season Mr. Lumley repeated his experiment of a scries of "cheap nights." At the cloae ol the protracted season of 1ft."8 Her Majesty's Theatre passed forever from the hands ot Benjamin Lumley. Lord Ward had pressed "him very stringently; he Icit the director no alternative between the immediate payment of tbo arrears of rent ' 4000 or au Immediate cession ot tho whole property into his lordship's hands. Nothing re mained but a surrender of the lease and the possession ol the theatre into Lord Ward's lmnds. From the time wheu possession of the house was formally given up bv Mr. Lumley, his connection with the theatre" was entirely severed. The first event In the operatic world in 1859 created a strange, sad excitement. News came from St. Petersburg that the charming favorite, Angiolina Bosio, Was dead killed by over-work and an unkind climate. Perhaps no prima donna was ever more universally lamented than this praceful and refined stnper, who died in tho flower of her age and at the zenith of her repu tation. Althoueb. Her Majesty's Theatre was closed, there were two Italian operas in London that year. Under the direction of Mr. E. T. Smith, Drury Lane was opened lor the performance ot opera. The company consisted ol Mesdames ictoire Balfe, llccolomlni, Guarducci, Tietjens. MM. Giuglini, Badiali, Belnrt, etc. The chief f. i 4 1 1 si 4 tVita aiinmnt iwna rhn n can m n f lrtn 4rtw the first time in London, by Mademoiselle Tiet jens, of the pnrt of "Norma." It was probably the success attending th'.s effort which induced Mr. E. T. Smith, tho fol lowing ytar, ls(jO, to become lessee ot Her Majesty's Theatre. Considerable changes and Improvements were ell'ected before tlie house opened. Tho theatre underwent a thorough reuovation, both internally und externally. Tlio pit, the vestibulp, the lobbies on the grand tier, aud the crush rooms were lined with mirrors, the walls were papered, the ceilings painted, the floors and stairs carpeted, the chandeliers improved, the stalls newly arrauped. The singers engaged were Mesdames Alboni, Laura Baxter, Lotti della Ssnta, Marie t abel, Borphi Mamo, Tietjens, MM. Mongini, Guiglini, Scbnstinno Ronconi, and Gassier. The dancers were Marietta Pocchini, one of the most accomplished of living dancers, Amalla Ferrais, idol of tho French and R-issian capitals, Claudina, Cucchi, and otheis. Mr. Benedict and Signor Arditl were ap pointed directors of the music, composers, and conductors. Jules Benedict, who was born at Stuttgard, 1805. came to London for the first time in 1835, chiefly at the instance of his friend Madame Malibran. Siuce that period he had resided almost entirely in England. From his early youth he had been accustomea to the duty of conducting an orchestra. At the age ot nineteen he was, on the recommendation of his friend Weber, engaged to conduct the German Opera at Vienna; alterwards ho trunslerred his services to the theatre ol Sun Carlo, and then to the Fondo at Naples. He undertook the direction ot the Opera Bulla at the Lyceum in 183G, an entertainment carried on for two seasons by Mr. Mitchell. He was subsequently musical director at Drury Lane, when Mr. Bunn was manager. He was again conductor at Drury Lane during the Italian Opera season in 1859. During 18G0, he brought out at Her Majesty's Theatre an Italian version of Weber's Oberon, with recitatives and additions principally selected Irom the composer's own worKs. Weber had been one of his most sincere friends. The woiks which Mr. Benedict has given to the world have all been more or less well received. Luigi Arditi was born (1812) at Crescentlno, a small town iu Piedmont. He commenced his public career in 1843 as orchestral conductor at Vercelli. Since that time he has continued to wield the baton ot a chef-d'orcliestre, during a lile ot wonderlul variety and industry. Mr. Lumley introduced him to England. At the Roval Italian Opera, in 1800, the singers were "Mesdames Nantier-Didice, Csillag, Miolan Carvalho, Penco. RudersdortT, and MM. Tamberlik, Relger, Tagliatico, Ronconi, Mario, Faure, and Formes. One of the most reniark abie events of the season was the unexpected appearance of Mademoiselle Adelina Patti. The new floral hall, a spacious and elegantly constructed saloon attached to the Covent Gar deu Theatre, intended to be devoted to a variety of purposes, was opened as a promenade, utter the performances in the theatre, about the middle of the season, and was so used on several nights. A grand show of flowers took place shortly alter the opening, and in the evening the occupants of the boxes, stall, and pit were allowed the right of entrance. The farewell performance of Madame Grist formed an attraction at Covent Garden. The finest performance of the seaon was, perhaps, the production of Quilianme Tell. This work achieved then the greatest success it hud ever met with iu England, and for nine or ten nights drew crowded audiences would in all probability have continued to attract for nine nights more, had not the attention of the public, been suddenly diverted by tho appear ance of Mademoiselle Paiti. This charming singer gained as veritable a triumph as her im mediate predecessor on the lyric stage Made moiselle Tietjens had obtained. Mr. Miipleson made his first essay in operatic management at the Lyceum Theatre in 1801. He w as in many respects well fitted lor the position at which he ambitiously aimed. Sipnor Arditi was conductor, Mr. Calcott scene painter. The leading singers were Mad'lle Tietjens and Signor Giuglini. Emboldened bv success, he the tbl lowlug year undertook ihe direction ot Her. Majesty's Theatre. Although he entered upon this enterprise at the briefest possible nonce, and was obliged to carry the season through in a hurried manner, nis euorts were highly suc cessful. Signor Arditi and Signor Calcott accom panied him to this enlarged sphere. Since that year, Mr. Mapk-son has conducted Her Maiesty's Theatre to the unqualitled satis faction of the subscribers and of the general fiublic. His success has been all tbo more lighly to bo aporeciated as he has never had the sume means at command as his rival, Mr, Gye, who had the good fortune to possess the amplest resources of any theatre in Europe. Signal etloits were made by Mr. Mapleson to restore the bygone prestige of the ballet, but its davs ot efory have apparently passed away tor- cver. Not all the tascinatious of Amalia Fer raris, nor Hie brilliant qualities of Mademoiselle Pocchini, nor ihe picturesque beauty f the divertissements, could raiso the ballet to its ancient popularity. The great incident ot the seaon of 188J, at Her Majesty's, was tho production of M. Gou nod's taust. The principal characters were ad mirably sustained, aud the work created a pro- lound interest. It was proposed, at the closo of tho season of lust year, 1805, to unite the two rival opera houses bv means ot a loint-stock company. This scheme has, however, for the present been abandoned. The history of the successive directors of Italian opera in London must, necessarily, be an impeitect one. Ic would be impossible to close its pages otherwise than abruptly, espe cially at a time wheu the fortunes ot the ope ralic establishments and o' their rulers hang la the balance ot au unceriuiu destiny. London Socutu for June. CIGARS AND TOBACCO. A JJLNT TO TOBACCO CHEWLUS WEDDING-CAKE FINE TOBACCO. CUT The onlT FINE CUT TOBACCO ever manufactured in 1 n'ludelphla. The Heist in tlie )Marltet. EVlillYliODY USES IT. Kauufactured from the Best Leaf. 60LD EVERV WHKRE. Itjll F ictoiy, coiner JJhoad and Wallace streets. SADDLES AND HARNESS. X1IE OLDEST AND LARGEST SADDLE AND HAHNESS MANUFACTURING ESTABLISHES! IN TUB COUNTRY. LACEY, MEEKER & CO., -No, 1216 CHESNTJT STREET, OFFER OF THEIB 0WS MAMTFACTCBIl 1 BrGGY HARNESS, from a-fl0 to tl LIGHT BAROUCHE do M M 00 to 969 IlEAVT do do 78 00 to 603 EXP RIBS, BRASS MOUNTED HARNESS 2700 to 9 WAGON AND SEI.F-ArjCSTIKO 14-00 to M ST AGE AND TEAM do 30 00 to M LAPItb' SADDLE, do tf-OO to 194 GENTS do do 8-00 to 74 Bridles, MonntlDgs, Bits, Itoett, Horse Coyer,' Bmihcs, Ccmtii, Soaps, Blacking, Ladles' and Genta , Traveling and Tourist Bags and Sacks, Lunch Baskets, Dre m lg and Shirt Caies, Trunk and Valises. 6mrp No. lalH C11KSNUT3T., g A R IV ESS. A. LABGE IX)r OF NEW U. S. WAGON HAR NESS, 3, 4, and 6 horse. Also, parts ot HAS NF.fc8, (SADDLES, COLLARS, HALTERS, etc., bought at the rf cent Government sales to be sold at ereat sacrifice. Wholeiolo or KctaiL Toucthet with our usual assortment ot SADDLEBY AND SADDLERY nAEDWARE. WILLIAM S. LTANSELL & SONS, 3 1 Bum MARKET Street. WHISKY, BRANDY, WINE, ETC. CUES SIT GROVE WHISKY Bo. K5 North THIRD Street. It anything as wanted to prove tlie absolute parity ol this Vlliif-ky, tlie following cettiacaies should dolt. There Is no alcoholic sUiunlant knor.n commanding sac It eiiaUiiniiatioo toni such hlfcli souices: Fhuadkli iii a, September A, 1W. We have carefully leeu-U tbo sample of ( HbMNUl GKOVE WHISKY which you send us, and And that It contains NONK of tub FoieoNOVS subhtakcb knownai fisil oil, which Is the characteristic and injurious la gredlent of the wnlrkie In general nse. BOOTH, GARRhTT CAMAO, Analytical Chemists ' New Tobk, Septembers. 18M, T bare analyzed a sample ol .LlfcMJT GUOB V'lllt-KY received Irom Air Cbarles Wharton, Jr., 1 hlia:eipbla: and having carelully tested It, I am plecscd to state that It Is entire. y free from poihonoo or nvLiTtmoiB substance. It la an unuaualy pur auu Hue-flavored quality of whisky. James r. chilton.m.d., Analytical Chemist Boston, March 1, 1830. I have made a chemical analysis of commercial sm pies ot CH'.HNUT GROVE WHlKlf, which prove! tie Iree In ni the heavy Kuxl! Oils, and perlectly pure an u in-dull crated. '1 be fine flavor of this whisky Is derive lie in the grain Ufed in manufacturing It Respectfully. A. A. HATER. M. D.. fctate Assayer, No. 10 Boylstoo BUeet. For sale by barrel, demijohn, or botCe at No. 2.13 Norm THIRD Street Philadelphia. 41 tyL NATHANS & SONS, I M PORTERS OP BRANDIES, WINES, GINS, Etc. Etc. No. 19 North FRONT Street, , PHILADELPHIA. MOPES KATHAKS, HORACE A. NATHANS, OBIAKDO D. KATUAMS. 119m DENTISTRY. TIIOIjSANlM g" tekth extractei FZlTs. without nuln. ratcnt applied for. My new kH "UHxTJ vention, a Double Reversible Holl-ailjuithiKV Ha'eiy Vulved inbalei lor administering nitrous uxiuo I', u nnil rxtractlnu teeth without Rain. The only mod J that the U as enn do p'operiy ana aieiy aominisierecin 6 il ira Dr. v. L. AiL'AAH. , Jio. ni oniuw; ueou SHIPPING. rnli SAVANNAH flROltCtA .Ml! THE PHILADELPHIA AND BOUI'HJOR A.aIL STBAA18UIP CUMPAN1'. BA1UKVA1. The fine new Steamship . TOiAVANDA Captain JACOB TEAI, I'Hhlii l'p.ssaue glow Deck Fatsage fHlKsj TheBtoamBhlD t , TON A WANDA, Jacob Toal, Commander, wilt commence rvceivuK irwipu' " bud pun,, at RACK Street Wharf, on 'i UUKaDA If. July 0, and sail . Phlppers are requested to send blha ol lading' with 4inir unntls. HA'll KIIAK. JOIT J. BI II' O ClOCK A. m. ' Ihe tita e-room accommodations of this steamer ara M BiinMrUir and commouious character. lfrelKht lor Charleston, 8. a , can be forwarded via Snvfiitunh A Ifh (illil'k dftHDatCh. Ko bills of liidipu sinned otter vessel leaves the wharf. 8. t'LANAUAN, President, 'No. 420 Houth DELAWARE Avenue. For freight or passage apply to 6 28 8t Secretary and Treaflurer. 11 AM ILL'S PASSAUE OFFICE. 1.1UERS1A," "COLOMBIA. CALEDONIA." "CAMBRIA," " liKITAKMA," "LSDIA.' LIVERPOOL LONDONDERRY. BELFAST. DUBLIU, llEHUli lUilh.lMJ UU13UUIV, RATK." OF PA MS AO K, PAYaELE IN PAPER CUHRKNCY. CA BINS U0, 180, and 10 blttiLRAGlS IHK PAID C1LRT1FK ATKS ( Issued for bringing out pasttnuen irom the aboTej w,lnta Jit. LOWER RATES THAU AST OTHER UNI. AlTxTilLON9 ON THE 1RIHH RAILWAYS. BPK01AL fcOl'ICE. Pnssengors will take particular notice that the "Anchor I, lue" is the only line grunting tin out h tickets at the above rates, from Philadelphia to the points named above, and that the undersigned la the only dolv authorized Agent In hi!adelpbia. AddIt to W. A H A jIILL, v Sole Agent for "anchor line," 1 IS aio. 217 WALNUT btoeet. FOR NEW FORK PHILADEL- deluhia 6team Proneller Comiinr Te-i. i(aii ev insure Liucn.via jjemvtaxe anu naruan i auai leaving ual y at l jm. sua o r. si., connecting wiLtt au tlorthern find Eastern lines. For initlit, vthkh v.iil be tslren upon accommodating turns, at ply to W ILLlAld M. I1AIRD & CO., 8 16 ho. LV28 DLLAWARK Avenue TO SHIP CAPTAINS AND OWNERS. TH1 I nmlprstunpd hnviiii leased the KKN.m Nfl l flN fcC RLW DOC K, beys to In onu bis friends and the patrons Ol ma Ajut:& iimi no is prefiBiu .uu iu.ii;bbcu lavmueov to accommodate those having Vfsse e to be raised or repaired, and being a praoiical ship-carpenter and caulker, wi 1 give personal attention to the ressell tu-l triifttpa in him inr rpniklro.. I Cartuins or Agents, chip Carpenters, and Slachiuls ttividVtpiuiiiio rrnair. are solicited to call. Having ihe agency for llie sale of Wetteratedt'i Vnunt iiuii,t mi, nosltlon" iOi Conner Puint far tin pieservallon of vessels' bottoms, for this olty, I am pre uaied to itimlsb thesame on lavornb'e lenns. ( iiuoa 11. n&JSMrn, Kens ngton Hcrew Lock, 115 DELAWARE Avenue above t-AUREL Htrect JpBEIlT SHOEMAKER & CO. WHOLESALE DKUCG1ST3, MANUFACTURERS, IMPORTERS. AND DEALERS LS Taints, Tarnishes ana Oils j No. 201 NORTH FOURTH STREET 4 16 3m N. E. CORNER OF RACo PARASOLS AT fl-25. l--S0, l-7.r), ANDt 2. till Bun Umbrellas, 140, l fO, Uri. I 11. I'lXO. J 4 18wtm So. il S. FIQHTH btreet I jT rpilRr?F tJKNEKAt, AGENTS WANTED TO, J set In Imrortant locatlous for ihe New K'ira , Aeclf dental insurance I on,pnny. Act vouienoi goou niurei r H A ML O. ALLEN. KfttBlQ UWVe, ft BSVT tilfeet, Asply svvo.
Significant historical Pennsylvania newspapers