... word He spoke, who speaks no more, And sacred be that sleep the nightingales sing o'er! True teacher, friend, and brother, Farewell, beloved heart ! Where shall we find another? Yet wherefore? Here thou art, From thy fresh grave to speak, who hast but died ...

... premised our remarks on Verdi's Requiem in this generalising manner because we feel under considerable difficulty how to speak about it with fair appr~ecia tion without descending from the base of high cr1tical demand on which our remarks in these colunns ...

... supplied by his exact counterpart on a Liliputian scale. Everything about Signor Carrion, the second experimental tenor we are speaking of, is pretty, except his name. His voice is small, but sweet and well managed, and the agility of his diminutive gestures ...

... be able to add that of M. Edouard Remenyi, the Hungarian artist of whose all but phenomenal gifts we had an opportunity of speaking some time ago. During his stay in London last season, M. Remenyi's playing excited a perfect sensation in private circles ...

... purpose and no inconsiderable skill in artistically rendering his inten- tions. Not havina seen the score of the work, we can speak only of our impression after a single hearing; perhaps we may return to the Magnificat on a future occasion. The following ...

... intended by Wagner, who, to use a pictorial simile, is fond of deep but not of loud colours. Of the solo singers we shall speak presently at greater length. At present we wish to state that, as a whole, the per- formance at Drury Lane may be called s ...

... rot; Thou hast washed thine hands and mouth, saying, Am I not Clean ? and thy lips were bloody, and there was none To speak for man against thee, no, not one This hast thou done to us, Iscariot. Therefore, though thou be deaf and heaven be dumb, A ...

... character. So much about the national qualities of Boieldieu's music. Amongst his excellencies as a composer, absolutely speaking, we have already pointed out the great charm of his melodies, which are always simple, and fre- quently in the true vein ...

... has at least a knowledge of the practical details of his art which is not possessed by the literary critic. If the painter speaks, it is because he has something to say, but with the critic the reason is too often only that he has to say something. Some ...

... of Attic taste, and came away disappointed and dull. The fault did not lie with the actors, but with the piece. We must not speak slightingly of a play which has held the stage for twenty years with undi- minished popularity, but it is clearly not suited ...

... respect made of such long life. Whereas if stress is laid on the word respect it conveys the meaning of courtesy. And now to speak of Ophelia, in which character Miss Ellen Terry appeared for the first time. Expectations had been great, and expectations ...

... early training and natural-we may say hereditary- aptitude for the stage. Of a novice, and a lady so young, it is difficnlt to speak with absolute certitude; but we may safely say that her appearance will be a decided gain to English opera. We somewhat hesitate ...