The Fall of Algiers, a grand Opera, in three Acts, (the Poetry by C. E. Walker, Esq.) as performed at the Theatre Royal Drurylane; composed by Henry R. Bishop, Composer to the Theatre Royal, Drury-lane. London. Goulding, D'Almaine, and Co. We have so frequently paid our tribute of praise to Mr. Bishop's works, that we shall not be thought to intend any subtraction from his merits, when we say that we find it exceedingly difficult to trace in his writings any style, sufficiently distinct, to be rightly called his own. This seems rather a singular admission, after a man has composed fifty operas-but nevertheless it is true. The fact appears to us to be, that Mr. Bishop has written, premeditately, not only in all styles, but in the manner of almost every composer whom he has thought proper to shew himself able to imitate. This he seemingly delights to do, as a display of his own versatility, and of the facility with which he can make those characteristics which distinguish other eminent men, his own. And when we analyze the parts of English and foreign composition, we perceive that the peculiarity which marks our native writers is a purity and avoidance of strong and prominent distinctions, rather than the bold, decided, general traits that are heard in the German and Italian musicians of the last and of the present age. Hence it follows that Mr. Bishop has not only to contend against the unpretending manner, which is the national manner, but also his natural style is thrown still further out of observation by those more striking parts of his writings, which are obviously intentional imitations of popular foreign masters, while at the same time we conceive the vigour of his original train of thought must necessarily be weakened by the admixture of the mere mannerism of others, which probably, for the reason we have above stated, (to prove the flexibility of his genius) he has thus introduced into his works. How far the consequences of such a train of study, and such a turn of his employments, have advantaged or injured his original vein, it is not our purpose now to ǝnquire; we merely state our apprehension of the fact, from its being awakened in a greater degree than ordinary by the production we are about to review. In this opera Mr. B. has abandoned the practice he has lately so frequently adopted, that it had almost grown into a custom, namely, that of adapting the most popular airs of foreign com. posers to the words of the dramas submitted to him. Foreign melodies very rarely go well to English poetry, and those of Rossini especially certainly accord but ill with the genius of our language, or with the spirit of English adaptation. When therefore Mr. B.'s reputation and real talent are considered in conjunction with the objections we have recited, his return to the use of his own powers must be a matter of satisfaction, for all the reasons assigned. Nor must we omit that novelty seems almost as indispensable to the gratification of the public as the very amusements of the theatre themselves. Owing to the short time allowed Mr. Bishop for preparing this opera, it makes its appearance without an overture, that to Cherubini's Anacreon being performed at its representation at Drurylane. The opening is an introductory chorus of slaves, “Far from home and all its pleasures," which has perhaps a stronger claim to originality and character than any thing else in the opera. The symphony is one of those highly characteristic traits which so often form effective openings to Mr. B.'s compositions, and which may be pointed out as a more decided feature in his style than any thing else. The first movement is a largo in F sharp minor, and besides containing beautiful melody in itself, is very descriptive of the depression and misery it is intended to paint. In the second movement, in which the poetry dwells on the remembrances of the joys of liberty and home, the composer has however displayed still greater ingenuity. It is in F sharp major and in 6-8 time, Andante sostenuto. There is a lightness and simplicity imparted to it, as if by the associations that these cherished reminiscences may be supposed to awaken in the minds of the sufferers, whilst a melancholy still clings about it that renders it extremely characteristic and beautiful. This glee may be considered as adding new reputation to that already acquired by the composer of " Blow gentle gales" and "The Chough and Crow." The English public may now be said to be falling under the dominion of two musical despots-Rossini rules us from the King's Theatre, whilst Carl Maria Von Weber asserts hi empire from the great and little English play-houses, thoug about it is said to be inthrone himself at Covent-garden, and from the oratorios. Of the former Mr. Bishop has given abundantly frequent imitations, and from the first song, "The mid-day sun was bright on high," we perceive he has now turned his attention to the latter. The imitation however is not so direct, for two Rossini's mannerism lies chiefly in his melody-in the rhythm and animation-Weber's in his harmonies and accompaniments.-The characteristics of the one style are therefore more brilliant, open, and apparent, than those of the other.The one every body discovers instantly, the other lies concealed from most ears and eyes but those of the critical observer. This is a declamatory song, and has some of these short and occasional traits. We know not whether "Dear liberty" is intended to match "Sweet home," but if so, the resemblance is faint and the distance immeasurable. "My life, my only treasure," is a duet for tenor and soprano, a little a la Rossini; it is literally short and sweet. "Oh yes, dear love, so tenderly,” is remarkable for little, except the faulty manner in which the quantities of the words and the rhythm of the notes are conjoined. The false accentuation is especially remarkable upon " Fade worthless all before thee;" the first five of these notes are set to equal syllables, and they are so studiously wrong, that it is next to impossible for the singer to remedy the defect by the use of tempo rubato. "Oh the accents of love" is a scena after Weber, and though neither palpable plagiarism, nor direct imitation, is yet clearly designed after the scena of the Heroine, in the second act of Der Freischutz. This lady has had so many aliases in England, and the words to which Der Freischutz is set, being as multifarious as the theatres, we can give no nearer description. If then the cantata be a something below the division of regular opera, this new species is something still lower than either cantata or accompanied recitative, and we consider Mr. Bishop as having sacrificed rather to fashion than taste, by adopting the formulary. If indeed he purposes to bring the manner into disrepute, he to a certain extent succeeds, for to our ears the whole thing is wearisome; but if he designs to express deep passion, he has failed. The finale to the first act," Loud let the Moorish tambour sound,” is the most characteristic thing, next to the opening chorus, in the opera. "Oh be some signal vengeance found" is a low tenor song. The melody is just not disagreeable, and that is all. If we say that the next song, "Here like the gem that ocean hides," is of the same class with " Bid me dis course," and "Should he upbraid," the remark forms in itself a strong recommendation; for few English productions of modern times will bear to be placed beside these very popular airs. The subject is to our ears even sweeter and more attractive than either of these, but so much has not been made of it. The whole, or parts of it, are heard too frequently. A spirited quintet follows, in the manner of the Italian finales. The position of Alexander between Roxana and Statira, we conceive to have been quiet and blissful, compared to that of the composer who has two heroines to write for, since he has not only to do his best for himself and the opera, but to preserve such an equality between his ladies as shall keep them, as far as human nature allows, in good humour. "Not more sweet the water gushing," is the air for Miss Graddon, which parallels with Miss Stephens's "Here like the gem." The author has managed very cleverly, and given to the melody before us superior beauty and a witching harp accompaniment. There is less airy motion than in the other, but more variety and greater sustained sweetness. Both these pieces improve on repetition. 66 Say, have you loved," is a duet for soprano and tenor. The construction is like the celebrated writing duet in The Siege of Belgrade, and a hundred others since, the second part answering in the passages of the first; but the melody is pleasing, and when well sung it is effective. The middle movement is elegant, and it rises in force where the parts unite towards the conclusion. "Yes, 'tis decreed thou lovely fair," is a short and spirited piece of melody. It commences like Haydn's " In native worth," and is well calculated to shew Mr. Sapio's brilliant tones and declamatory power to advantage. "Softly, softly, lest the sound," is a choral finale. The opening is very pretty, and the whole very effective. It contains solo, duet, and trio, till it closes in a chorus. "In Tunis, fair city," is a pretty little arch and lively air. "Traitor, prepare to meet thy doom," is a declamatory duet for tenor voices-purely dramatic. It is certainly "full of sound and fury," and we are afraid, we must add, "signifying nothing." Mr. Sapio's grand scena, "The bolt has burst," is also written for theatrical effect. It consists of powerful declamation and frequent transitions. Like other bravuras it is effective in its place, but though it rouses the mind at the time, it is forgotten nearly as soon as heard; and such a fate we suspect will attend this aria d'abilità. Mr. Bishop has had to struggle as usual against the depressing effect of setting prosaic lines, and we cannot well imagine any thing more depressing than being called upon to give melody and spirit to such common-place affected stuff as we find in this opera. The reader shall judge-Ex uno disce omnes→→ Ah, what avails the glittering vest, Unless the form it wraps is free; Dear, dear, liberty. But it must be presumed that Mr. Bishop has learned the art common to composers of high fantasy, of taking the general passion the song is intended to express, and of raising musical imagery upon it, without descending to either syllables or sentences, except in so far as their quantities are concerned. Such verses indeed as usually appear in English (or modern Italian) operas can only be so regarded, for we will venture to say that no composer of common sense or common education would ever by choice set such words. Habit and experience have now familiarized us to the structure of operas, and if they contain one or two attractive pieces, and if there be nothing far below mediocrity in the general run of the music, it is all the public expects. In this instance Mr. Bishop has been quite as successful as on most occasions; indeed, with the exception of the music he has put to Shakspeare's plays, we can remember nothing, lately, better than his "Fall of Algiers." Such music will not, however, give permanent existence to a drama so intrinsically absurd and uninteresting, and accordingly the piece has already exhausted its little stock of strength. Some of the songs will find their way to the chamber of amateurs as pleas |