favored competitor. Miss WHEELER was laid on the shelf as the theatrical phrase goes, and at the expiration of the twelve nights the managers again waited on Mrs. B. to renew her engagement on a permanent footing. They questioned her cautiously respecting her expectations, and she rather in jest than earnest demanded one thousand pounds and a benefit for the remainder of the season, with which, to her utter astonishment, they immediately complied, and they afterwards voluntarily gave her a second night in return for the extraordinary emolument they had derived from the exercise of her talents.

During this season, although her theatrical duties were unremit ted, she never relaxed from the most sedulous general pursuit of the knowledge and practice of her art. She laboured incessantly, and received lessons of MORTELLARI, an Italian master of celebrity, at that time in England. The theatre had no sooner closed than she availed herself of the interval to fly to Paris, where she enjoyed the instructions of the great SACCHINI, the composer. Thus, she continued from the first to fortify and enrich her natural gifts with the strength and ornaments of high science,* an example to be followed by every student who aspires to the character of a polished and expressive singer.

At this time MADAME MARA arrived in England, unequalled in the eminence she had attained. In 1785 the subject of our memoir made her debut at the concert of antient music. MARA herself is said not to have beheld her reception quite unmoved, and some disputes even arose respecting place and pre-eminence in the seats of the oreliestra, a species of contention very unworthy the transcendant abilities of these gifted individuals.

Mrs. BILLINGTON's fame continued to spread while her neverceasing ardour and assiduity were day by day enlarging her stock of knowledge, acquirement, and facility. She was a constant performer at the concerts of the metropolis, and she sung at the memorable Westminster Abbey performances. She remained at Covent Garden till 1793, when she adopted a resolution to retire from public life, which she vainly imagined she had firmness enough

* A common friend has related to us that he has known Mrs. BILLINGTON, after playing at Covent Garden, leave the table to practice with her

master.

+ See page 61. No. 1.

to adhere to. At the instigation of her husband and her brother she was induced to make a continental tour, with a view solely to amusement, and to this intent she declined all letters of introduction, in tending to travel incognito. For some time they succeeded and passed along without notice; but at Naples, the English Ambassador, Sir W. Hamilton, penetrated their secret and persuaded Mrs. B. and Mr. W. to perform in private before the King and Queen, at Caserto, a country residence. The gratification they received induced their Majesties to request Mrs. BILLINGTON to perform at the Great Theatre of St. Carlo, then thought to be the finest opera establishment in the world. She accordingly in May, 1794, made her debut in Inez di Castro, which was composed expressly for her, by the Maestro FRANCESCO BIANCHI, who wrote an opera worthy the supereminent ability of his prima donna. Her success was complete, for indeed her celebrity had made her name known in Italy, and previous to her quitting England the Venetian Ambassador had been in treaty with her to accept an engagement, which however she broke.

Her performance at Naples was interrupted by a sudden and af fecting event. On the second night as Mr. BILLINGTON was seeking his hat, to accompany his wife to the theatre, he fell down in a fit of apoplexy and died in the arms of BIANCHI, at the residence of the Bishop of Winchester. Nor was this the only circumstance that impeded her progress. About this time an eruption of Mount Vesuvius took place, and the superstitious bigotry of the Neapolitans attributed the visitation to the permission granted to a Heretic to perform at St. Carlo. Serious apprehensions were entertained by Mrs, B.'s friends for the consequences of such an impression. Her talents, how. ever, triumphed, she renewed her performance, and no prima donna was ever more rapturously received in the country where the opera is best cultivated and best understood. PAESIELLO, PAER, and HIMMEL, Successively wrote for her after BIANCHI.

In 1796 she went to Venice, where, after the first performance, she was taken so ill that she could sing no more during the season; and it is amongst the records honorable to human nature, that the Manager generously brought her the whole of her salary, which she compensated by playing the succeeding season without any other reward than the pleasure of reciprocating the liberality of her em, ployer. Conceiving that the air of Venice did not agree with her,

she quitted the place and returned. On her journey from Venice to Rome, she was earnestly entreated to give a concert at Rome, which she at first declined, but a society of Cavalieri undertook the whole of the arrangement, and she and Mr. Weichsell performed to a very crowded audience.

Between this period and the year 1798, she visited all the principal theatres in Italy. In this year she married Mr. Felissent, and subsequently appeared twice only at Milan. In 1801, still retaining the name of Billington, she returned to her native country.

No sooner was her arrival known than all the conductors of the public amusements were alike eager to engage her. The Managers of Covent-Garden and Drury-Lane Theatres both made her offers, and the disposal of her services was at length referred to arbitrators, who awarded that she should appear at the two theatres alternately, MANDANE, in ARNE'S ARTAXERXES, was the character selected for her debut, and the audience was struck with rapture and astonishment at her amazing powers. On this occasion she introduced a song from BIANCHI's* Inez di Castro, to the English words, "Lost

* FRANCESCO BIANCHI was born at Cremona. He composed either fiftyseven or fifty-eight entire operas, beside a considerable quantity of church and other music. He wrote a great deal for Pacchierotti and Marchesi, and some of his operas remain in public estimation, and were performed, both in Italy and in England, at least as often as those of any other master. He composed his Disertor Franchese at Venice, in 1785, and it obtained its celebrity in the following singular manner. Pacchierotti performed the part of the deserter, and in the proper costume of a French soldier. The dress of common life had never before been seen upon the opera stage, and so shocked was the classical taste of the Venetians at this innovation that they actually refused the piece a fair hearing. It happened, however, that some royal personage, passing through Venice, expressed a strong desire to see this opera, and in deference to him the music suffered no interuption--their rapture was equal to their first unwarrantable disgust, and the poor discarded Disertor became a reigning favorite.

Bianchi wrote the first opera both for our Storace and our Billington-Castore e Polluce for the former and Inez di Castro for the latter. His forte lay in fine expression. Though his Merope (the best of his works,) displays how thoroughly he understood the use of instruments, his accompaniments were rather natural and easy than recherché. He went hand in hand with the stile of his cotemporaries, Paesiello, Cimarosa, &c. preferring simplicity to the more complicated effects introduced by the Germans. His Semiramide is remarkable as having been chosen by the BANTI for her debut in this country, when it had an extraordinary run.

The fame of his success induced the managers to send for him to England, where he remained till the end of his life. He was engaged by the Court of Vienna, but his residence in the service of the Emperor was prevented by the

in anxious doubts," which, being composed expressly for her, exhibited at one view her prodigious qualities, heightened by the delightful execution of her brother's obligato violin accompaniment. Perhaps no other singer could have sung this song; very certain it is, no one has ever attempted it.

Engagements now multiplied upon her.-She sung at the Italian Opera in 1803, at the King's Concert, at the Hanover-square Vocal Concerts, and at a round of provincial meetings, from this time till 1809, when she finally retired.

Two remarkable circumstances attended her during this period of her public life. On her re-appearance at the Opera, the Banti, then in the zenith of her excellence, played the character of Polifonte to Mrs. Billington's Merope, in Nasolini's opera of that name. Never was the house so crowded as on this occasion: the stage was so covered with ladies and gentlemen, that the performers had scarcely room to move, The second occurrence was her performance with Mara,* on the 3d of June, 1802, the last night of that most distinguished singer's appearing in this country. They sung a duet together, composed to display their mutual accomplishments, and the contest excited both to the utmost pitch of scientific expression. Never, certainly, was such a transcendant exercise of ability. At length Mrs, Billington, having gained a competency, and feel

death of that great personage. The Emperor having desired his presence at some town in Italy, where, after conversing with him for near two hours with great familiarity, he was at length questioned as to his willingness to settle at Vienna. Bianchi assented, and an engagement was formally made out by the Austrian Minister at Venice. He had just read the paper when news of the death of the Emperor was brought him, and his good fortune died with the Prince.

We may relate an anecdote which is, perhaps, the strongest proof of this composer's talent. While Haydn was in England, he assured Bianchi that whenever the accidents of life disturbed his temper, he kept one leaf of some one of B.'s works turned down for reference-to this he always resorted, and this never failed to restore his serenity.

As a learned contrapuntist he ranked high, and we have understood that his great work on the theory of music still remains unpublished in the hands of his widow, now Mrs. Lacy. The manuscript was sent to France during the peace of 1802, and was submitted to the inspection of La Cepede, Guignene, and Prosny, at the especial desire of the Minister of the Interior. Public events alone precluded its appearance under the sanction and authority of the French Institute.

*On both occasions, at the especial request of each, Banti literally besought her on her knees, and Mara wept for joy at receiving her acqui

escence.

ing her health very sensibly affected by her efforts in the service of the public, she resolved to retire from exertions which, with a mind so keenly alive to the approbation of her auditors, and so devoted to the strictest execution of her professional duties, could not have failed to have shortened her prospects of repose, and even of existence. No entreaties were spared on the part of the noble directors of the ancient music, and of every manager of every public theatre or concert at which she had assisted; but her resolution was finally taken, and in 1809 she retired from all public performances, and was never afterwards induced to forego it, except on one occasion when she sung for the benefit of a charity at Whitehall, in the presence of the Queen, the Prince Regent, and other branches of the Royal Family.

She left England, with her husband, in 1817, and died after an illness of a very few days at her estate of St. Artien, near Venice.

In a former part of our work we endeavoured to convey to our readers a connected relation of the progress of tenor singing in this country, during the period more immediately within our own remembrance and observation, by a somewhat detailed criticism upon those vocalists, who may be truly said to have formed the taste of the age in their department of art. It then appeared to us to be necessary to bring up the arrear of information, which is now due to the public. upon every topic of musical instruction, in order to form a solid substantial foundation upon which our future remarks may be built, and it is our intention to adopt the same principle in all the articles to which it applies. Pursuing the method of proceeding we have laid down, we purpose to enter upon a view of the characters of the MARA, of the BILLINGTON, and the CATALANI, all natives of different countries, and educated in different schools, flourishing in immediate succession, all performers of most astonishing attainments, and all uniting at this particular point of time, to form and fix the taste of our country, more than any others who have lived among us, or who are yet before us. BANTI and GRASSINI cum multis aliis, are barely recollected, while the names of Mara, Billington, and Catalani, are never spoken of by persons of judgment and feeling, but in the language of veneration and enthusiasm.

* Articles 10, 11, 12, 13, page 72. (No. 1.)