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18 52.] Correspondence of the Southern Literary Gazette. MUSICAL CORRESPONDENCE. New-York, Nov. 29, 1852. My Dear Richards : —Madame Sontag has again returned to us after gathering a rich harvest in Boston. I guess that our down east neighbours have never be fore had so thorough a musical waking up. She gave eight concerts in Boston ; and at the Oratorio of the Messiah, which was given on Sunday night last with the the Handel and Hayden Society, hun dreds were disappointed in not gaining admission. She has engaged for her new series of concerts here, the first of which 1 will take place to-night, an orchestra and chorus of COO. On Saturday morning she gave a full dress rehearsal to the cler gyman of New-York and the vicinity— ’ about fifteen hundred were present with their families. After the performance the audience was addressed by the Rev. Dr. Cox, v\ko acknowledged the compliment in behalf of the clergy generally, and hoped that the religious community would 1 unite in support of Madame Sontag’s en deavours to exalt her science, by allying ; it with our purer and better thoughts. Alboni will soon visit you, but 1 doubt ; very much if Madame Sontag will more than get through her engagements in the Eastern cities this season. It is definitely settled that she will give Opera in Janu , ary next. 1 suppose you have seen the announcement of Fry’s course of lec tures on music. Mr. Fry is a Philadel phian, and is the composer of an Opera , called ‘’Leonora,” which was played in his native city in 1845, and had a run of ; some twenty nights. He has been in Paris for five years past, and was there 1 the Paris correspondent of the New-York Tribune. lie is a gentleman of high lit erary and musical acquirements, and his entertainments will be both interesting and instructive. The object of the illus trated musical lectures is to explain, and, at the same time, exemplify the different I styles and characters of music. He has engaged for this purpose an orchestra of eighty, a military baud of fifty, and a chorus of one hundred. The universal language is but little understood by our fashionables who frequent the opera and concert room, either for fashion, or, at the most because their fancy is pleased— they have no sympathy with the inspira SOUTHERN LITERARY GAZETTE. tion of the composer, and, therefore, can not understand that he is speaking to them in a language which should leave its impressions long after the applause which may succeed it has died entirely away. If his plans succeed in New-York, his lectures will be repeated in all the prin cipal cities in the United States. Bochsa’s attempt of English Opera, at Niblo’s, was a poor affair. Madame Bishop has past her prime and ceases to attract, and the rest of the company, excepting Rosa Jaques and Mr. Braham, was a dead fail ure. Mr. Braham made his debut on the operatic stage as Edgardo in Lucia, and sustained his part very creditably. Every thing else was very poor, and the opera was withdrawn after the first re presentation. Great preparations are being made at the Broadway to produce Maeder’s new opera, “The Peri” —$7,500 is to be spent for new dresses and scen ery. 1 have heard some portions of the opera, and have no doubt of its entire success. It is not a great opera, but abounds in little gems. The publishing house of Hall & Son, are getting out under the direction of Mr. Henry C. Watson, a complete series of gems of French and Italian operas, for parlour use. They have English, French and Italian texts. The first opera chosen is ‘•'La Favorita ,” from which six pieces are already published—“Ernani” will be the next. I have also before me a set of harmonized songs, by James G. Maeder; among which is Wallace’s beau tiful serenade, ‘"The Star of Loves and also his hymn, “Searcher of Hearts ,” the effect of which is much increased by be ing harmonized. The melody is one of the most majestic 1 have ever listened to, and its perfect simplicity will make it as lasting and universal a favourite as “Old Hundred.” The Quartette may be sung to any common metre hymn, and it will become one of the standard tunes in all good choirs. Lavenu’s beautiful song, “My dreams are now no more of thees is also harmonized in this collection. This arrangement of harmonized songs is very different from the tame and meagre style generally found in the numerous glee books of the day—they are very effec tive, yet not difficult. Wallace’s Musical Annual, for 1853, is soon to be published. It will be a very elegant Gift Book, and contains a selection of music, which will be always useful. Very truly your’s, CUJUS SUMMA EsT. CMtnr’s Dffrartmrnt. CHARLESTON: SATURDAY. DECEMBER 11, 1852. MURE THEATRICAL CRITICISM. Our editor having gone into the country lor a shoit time, we have been lelt in charge ot the col umns of the Gazette. Who we are, readers, it is our intention to leave in provoking uncertainty. It will be so pleasant to be swelling sec etly in editorial diguity, and at the same time to be en joying the delightful nresponsibiliiy ot an anony mous writer ! ‘The honour is a very new one to us, and we feel much as did Abon liassan in the Arabian Tales, when he awakes to his ca.iphate of a day. We entertain a wicked desire to cui off some author’s head, just to convince ourselves of the reality of our power. As this however might be a dangerous and d.fficult task, we will content ourselves with a less high-handed exer cise of sovereignty. We are only going to re verse a late decision of the absent editor upon a very interesting subject indeed. We mean, ot course, Miss Julia Dean. Our arguments in the question, however, having been given last week, (for we can avow ourselves, without danger oi discovery,to be the author of the criticism which then appeared,) weshail make our editorial noth ing more than a soit of sequel to the very impar tial estimation of that young lady’s ability with which they concluded. The three lasi peiformances of this young lady have increased our high opinion of her talents as an artist. Her second impersonation of Julia, in the play of the “ Hunchback,” was superior to her first, in spite of an indisposition under which we understand she was labouring. In the “Wife of Mantua,” she commanded more than once “the applause of silence.” As Mrs. Chil ingtone, it is impossible to praise her too highly. As Juliet, she was charming, but towards the conclusion of the play, and especially in the scene in which she takes the temporary poison, the effect of Miss Dean’s fine acting was consid erably marred by the wretchedness of the stage accessories. The bed, composed of the coarsest materials, was scarcely larger than a child’s crib When she threw herself upon it, the scene closed upon her near enough to leave a considerable por tion of her dress exposed. To make the matter worse, the clumsy mistake was made of sliding 271