serious operas were again attempted under the management of Signor Vaneschi. And the theatre opened with a new troop on November 9th, with Ipermestra; and in 1755, the new opera, brought out in January, of Siroe, had a run of nine nights.

England; and after six performances was again closed till November 5th, 1768: and during the seasons of 1769 and 1770, serious operas were chiefly performed. In the Lent of the last mentioned year, Bach undertook Oratorios at the King's Theatre: and from May, 1771, there was no serious opera attempted till the spring of 1772; during which period dancing seemed to gain an ascendancy over music, by the superior graces of Mademoiselle Heinel, whose talents seemed so far to eclipse all other excellence, that crowds assembled at the Opera-House more for the gratification of their eyes than their ears. New compositions, new and exquisite singers, lost || their attractions, and the lyric theatre was almost abandoned till the arrival of Mademoiselle Heinel; who, besides the six

But it is time to pass on to the most splendid period of musical history. In 1764, Giovanni Manzoli arrived in England; and the serious opera acquired an height of favour to which it had never ascended before. Manzoli's voice was the most powerful and voluminous soprano ever heard since the days of Farinelli. His manner of singing was grand and full of taste and dignity: the applause bestowed on him was hearty, unequivocal, and free from all party zeal; he was also a good actor, though unwieldy in his person. Every composer in London was ambi-hundred pounds salary allowed her by the tious of writing for such a performer; and the managers, to avoid partiality, gave Dr. Arne an opportunity of distinguishing himself by setting Metastasio's admirable dra-poser, used to say, "It is very extraordima of Olimpiade; but the Doctor had got a habit of composing for vulgar singers and hearers, and he introduced ballad passages into the opera: this production was therefore only performed twice.

The management of the opera was now undertaken by Messrs. Gordon, Vincent, and Crawford: and on December 9th, 1766, the celebrated opera of La Buona Figliuola, composed by Piccini, was performed; several of the original performers of which were now in London, particularly the first buffo, Lovattini, whose voice, a sweet well-toned tenor, was accompanied by that taste, humour, and expression, which ensured him the most marked and constant applause. Slingsby was the principal dancer this year.

Cecilia Grassi, afterwards Mrs. Bach, was inanimate on the stage, and very far from beautiful; but there was a plaintive sweetness in her voice that ever gave pleasure to her hearers.

In January, 1768, a new serious opera was performed, entitled Ifigenia in Aulide; and among the comic operas, Galuppi's Filosofo di Campagna, was revived.

The theatre was shut on the 30th of June, but opened again for the entertainment of the King of Denmark, then in

then Honourable Mr. Hobart, as manager, was complimented with six hundred more from the Macaroni Club. Cochi, the com

nary that the English set no value upon any thing but what they pay an exorbitant price for."

In November, 1773, the opera of Lucio Vero was performed, in which Miss Cecilia Davies, called in Italy L'Inglesina, first appeared. She was the first Englishwoman who performed principal characters in the great theatres of Italy. She went very young with her sister into France: this sister was much admired for her performance on the musical glasses. In Vienna, Miss Davies acquired a prudent management of her voice, and her powers of execution were allowed to be unrivalled. Her voice, though not very voluminous, was clear, and always in tune; her shake exquisite, open, and distinct; the flexibility of her throat rendered her execution of rapid movements fair and articulate.

The most memorable musical event which took place in 1775 and 1776, was the arrival of the famous Caterina Gabrielli, called in her early youth La Cuochetina, from her father having been the Cardinal's cook at Rome: however, she had no appearance of low birth either in her countenance or deportment; but her appearance always impressed the mind with the idea that such was the dignified matron of

country she improved very much; and after she became Madame Banti was engaged as first woman singer at the OperaHouse for two or three seasons.

In the autumn of 1778, Pacchierotti appeared on the English stage for the first time; he was born in the Roman state, and began his career in 1770, at Palermo; in 1772 he was the chief singer at the theatre of San Carlo, at Naples; and after passing through several of the Italian states, he arrived in England. A more perfect shake was never heard, and his voice seemed all sentiment and expression; for his feelings and sensibility were uncommon, and his benign and benevolent countenance evinced the workings of his soul. He was not gifted with robust health, and his chest was not proof against the attacks of our changeful climate. In his youth, when his chest was strong, he studied with unremitting diligence to execute every conquer

only modern singer capable of entering into the style of composers and performers of past times.

ancient Rome. Her celebrity was so great before her arrival in England, for singing and caprice, that the public looked, perhaps, for too much of both, and were therefore unwilling to allow her due praise as a performer, and too liberal in ascribing all she said or did to pride and insolence. Her voice, though excellent, was not very powerful; she had peculiar elegance in finishing her passages, and though her stature was rather low, yet she filled the stage, as an actress, so well that the audience could look at nothing else while she was on the scene. In private conversation she was intelligent and well bred; and could converse not only on music but on every subject in which a well educated || female, who has seen the world, may be expected to shine. Soon after she quitted England she retired to Bologna, where, in 1795, she was residing in private and elegant retirement. In 1778 the managers of the Pantheonable difficulty; and he was, perhaps, the engaged the Georgi, a young singer, who married Banti, the dancer. She was the daughter of a Gondolier, at Venice, and some time a piazza performer in that city. After this exercise of her extraordinary vocal powers, she sung her way to Lyons where she performed in coffee-houses for those trifling gratuities that are usually bestowed on itinerant performers. She next repaired to Paris, where her voice was so much admired that she was engaged to sing at the Concert Spirituel. Here the applause she received soon reached England; and she was engaged by the proprietors of the Pantheon for three seasons, on condition that one hundred pounds a year should be deducted from her salary, to pay an able master for the cultivation of her voice. Sacchini was the first appointed, but he found her so idle and obstinate, that he gave her up as incurable. She likewise exhausted the patience of Signor Piozzi. After these unsuccessful trials, Abel took her in hand, and out of pure love to her voice and person gave her instructions at his lodgings at Fulham, which gave occasion to an Italian who had long tried in vain to find Abel in town, to say, that he despaired of ever meeting him, for he was always going to Foolish. Siuce she returned to her own

In the summer of 1779 he went to Italy, and did not return to England till 1780, when he continued to charm, as before, by the sweetness, grace, and feeling he evinced in every note of his enchanting voice.

Dancing still continued to encroach upon music at the Opera-House; machinery and decoration diminished the importance of music and poetry. After the departure of Mademoiselle Heinel, the arrival of the elder Vestris threw the audience into ecstasy. The manly grace of Le Picq, and the light fantastic toe of the younger Vestris, obtained the most marked and breathless attention, while the singers have been treated with inattention, and often cla

mour.

In the year 1784 the music of the immortal Handel was celebrated in Westminster Abbey and the Pantheon by five performances of pieces selected from his works, and executed by a band of more than five hundred voices and instruments, in the presence and under the immediate auspices of their Majesties and the first personages in the kingdom. This celebration was formed into an annual establishment for charitable purposes.

In 1787

to Italy when she was very young, where, by hearing good singing, she acquired an In the spring of 1784 Madame Mara excellent taste; but though she made a arrived in England, and was engaged to very capital performer in comic operas, sing six nights at the Pantheon. The dis- and a most lively and intelligent actress, in solution of parliament and general election spite of all her care and attention she never happening soon after her arrival, her au- could appear as a serious singer. She was, diences were not very numerous, and she however, a real acquisition to the English was not heard with the interest she so stage; and a musical piece afforded no highly deserved till she sung in Westmin-pleasure without she had a prominent chaster Abbey, where she was listened to with racter in it.

THE TRIFLER.-No. VII.

dressed out, thinking himself peculiarly amiable, and with a white hat! He even dared to begin to utter a few soft things.

||

than a woman writing an octavo treatise on an Animated Oat?

As my learned cousin had done but little towards assisting me to-day, and being, as we often are, rather listless myself, I was | about to conclude this number, when the postman brought me the following from

shall be enabled to end with the subject 1 began, namely, that of marriage :—

Do you know, Sir,' said I, looking at his hat, that the common hangman in Mantua is obliged to wear a white hat? In Genoa it is worn by the hired bravos, who are worse than thief-takers in Eng-my sister, Mrs. Debora Desert, whereby I land; and in France the large white hat is the emblem of stupidity, belonging exclusively to Pierrot, who is always a fool: and indeed,' added I, laughing in his face, it will give a strong air de bêtise to the most animated countenance: none but a very fair, and very handsome man, can at all be tolerated in such a hat.'-I soon got rid of this swain, who affected to be dying for I should have wanted wit indeed, if 1 had not known it was my fortune he was sighing after."

me;

"My dear Lady Selina," said I, “my gay cousin, Fanny, is the best correspondent 1 have yet; you promised me occasionally a little dramatic criticism, or so; not one line have 1 yet had from you."

"MY DEAR SISTER,-I fear you have thought me very idle in not having yet contributed any thing to your periodical essay called The Trifler; perhaps the enclosed may not be unwelcome to some of your numerous readers.

A MAP OF MATRIMONY.

D. D.

THIS Country is laid down by the most accurate calculators in longitude 25, latitude 19; so that it is within the torrid zone, at least the fruitful parts of it. The face of the country, at a distance, looks most inMy dear," said my flattered cousin, viting, but does not improve as you ad"true dramatic criticism is so different vance. The first land you make is that from the pedantic jargon of the theatrical of Port Desire; from thence you steer away critics of the present day, which consists of-" Miss O'Neill is divine in Belvidera! double this point, by attempting which you to Cape Satiety; it is very difficult to How great is S. Kemble in Falstaff!" perare frequently stranded on the shoals of haps they mean in size. Then they go Aversion. This danger escaped, you sail on—“Have you seen the new play?-plot || for a long time in a dead calm, till you make -situations-characters-sentiments-ori- the bay of Mutual Convenience. The prosginality-pathos-cadences-great spirit-pect here is very flat. Previous to your tout ensemble," &c. &c. And then these playhouse pedants are generally ignorant of every other learned topic; they are numerous in London, but most intolerable in the country."

making this harbour you are liable to violent squalls of jealousy, or tornados of bad temper. From the last mentioned bay most navigators would wish to return to the harbour they first left; but that is impos"But," said I, interrupting her, "whensible; as, by the time they arrive in the will you favour me with a real good dra- || bay of Mutual Convenience, a strong wind matic essay '—“As soon as I can spare and current set in, which hurries them time," said this learned lady; "for I am away to the gulph of Old Age. Here they now most sedulously employed in finishing generally lose sight of their consorts, and my octavo treatise on the Animated Qat!" must be content with barely weathering Saying this, she rose and took her leave: the gale. Happy they who can constantly the beam and the mote instantly recurred anchor in the harbour of Mutual Affection, to my mind. Can a white hat or a little situate betwen Port Desire and Cape Sacommon-place criticism be more absurd tiety.

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CHARACTERs of celebrATED FRENCH WOMEN.

THE COUNTESS D'HOUDETOT.

the Countess thought herself obliged to

THIS was one of the most celebrated || put an end to a connection that appeared

to disturb her lover's tranquillity: she requested Rousseau to give her back her letters; he gave them, desiring his own in return she replied, that she had burnt them! What a shock for the sensitive mind of Rousseau!" It is what," said he, "I might naturally have expected."

At the age of fourscore the Countess d'Houdetot yet charmed by her conversation, by the gracefulness of her manner, and the justness of her reflections, her un

females of the last century; to much good sense and sterling wit, she united all the qualifications of an excellent heart: with out being handsome, her countenance exhibited an agreeable combination of animated liveliness and goodness: her graceful manners, her fashion, and amiability pleased every one who approached her; her conversation was sprightly, and was at the same time so kind, civil, and obliging, that she enchanted all who heard her. Her face was much marked by the small-faded wit and brilliant repartees, her polite pox, and consequently her complexion and amiable manners, her unaffected goodcould not be very clear; she was short-ness, an imagination almost as vivid, and a sighted, and her eyes were rather too heart almost as tender as in the spring-tide round; but she was ever remarkable for of her life. a very youthful appearance, and her physiognomy was lively, mild, and tender. She had an exuberant head of hair, very dark, and curling naturally, its length descended nearly to the calf of the leg; her stature was delicate and fascinating; and in all her movements there was grace accompanied by a bewitching kind of awkward simplicity, if we may be allowed the term; but her gaiety, heedlessness, and naïveté were most happily blended; she uttered, as came uppermost in her mind, the most brilliant sallies, unfettered and free from affectation, and which would often escape her in spite of herself. Her talents were of the most pleasing kind-she played on the harpsichord, danced well, and had a good turn for poetry. As to her character, it was angelic; good temper was its foundation, and had she been possessed of prudence and strength of mind, she might have been called an assemblage of every virtue.

When Rousseau drew the character of his Julia, in the new Heloise, he had Ma. dame d'Houdetot continually in his mind's eye. He acknowledged himself, that after he saw her he became intoxicated with love the impression Madame d'Houdetot had made on him augmented every day, and she appeared to flatter his passion by a sort of coquetry, while her heart was engaged to another.

In an arbour in her extensive grounds, she had placed the bust of Rousseau, and that of St. Lambert, her lover." These are friends," she used to say, "whose remembrance 1 cherish."-She had a very favourite little dog, which she frequently caressed, saying-" Poor little animal! thou hast, like myself, that malady that cannot be cured-old age !"-Though the charming Countess scarce seemed, with the exception of a few wrinkles, to be more aged at fourscore than she was at twentyfive, when she made so lasting an impres sion on the hearts of St. Lambert and Rousseau.

Madame d'Houdetot might be regarded as a more extraordinary personage than Ninon de l'Enclos, because the chief attraction in the latter was her beauty; whereas Madame d'Houdetot never could charm by the beauty of her countenance, for she was not even pretty; it was by the sweetness of her temper and the graces of her mind.

She was the daughter of a rich farmergeneral, and was married at a very early age to the Count d'Houdetot: he was a gambler, a cheat, and a very ill tempered man; but a brave officer, and of very illustrious birth. The young Sophia married him without loving him, and indeed withThe connection be-out knowing any thing about him, to please her parents.

tween them, however, never exceeded the bounds of platonism. But very soon after No. 197.-Vol. XX.

She fell in love soon after her marriage