The New York Herald Newspaper, November 10, 1872, Page 7

ITALIAN OPERA. ‘Phe DiMeulties of Operatic Management. To rus Eprror or THE HERALD:— Judging from the numerous articles which have recently appeared in the columns of the HaRaLD pon the company now performing at the Academy of Music, I conclude that you are deeply interested fm the progress of Italian opera in New York; and thus I am inclined to believe that anything which may help to explain the extreme dimeulty of in- suring that wished for progress may not prove un- acceptable, With your incomparable energy and fnexhaustable resources you may, perhaps, event- ‘wally discover the philosopher’s stone- You have already found the long lost Doctor, and with proper maps and charts and @ careful lookout for rocks and shoals and breakers aheaa, you may pos- aibly land us sefely upom that musical Dtopia, a perfect Italian opera, With your permis- sion, then, an old sailor upon the troubled sea of art will offer a few remarks upon the present con- @ition of Italian opera, and some information re- specting the organizations and pecuniary positions of the principal lyric theatres of Europe, in order that you may be made aware of the disadvan- tageous circumstances under which a New York weanager must necessarily make his venture, OPERA IN PARIS, ‘The Gallic capital, despite the havoc of the Ger- man invasion and the subsequent horrors of the Commune war, continues to the grand opera the gubvention of one million of francs per annum, for- merly granted by Kings and Emperors, showing what an art-loving Republic can do even in its in- fancy. It gives likewise to the entrepreneur—the Opera House—its scenery, costumes an‘ appoint- ments, and yet, with all these advantages, the only artist of celebrity there is M. Faure, the bari- tone. The Italian opera in Paris 1s in a still lower condition, for there is not even one “star” artist in the troupe, and owing to constant bad business ‘the Salle Ventadour is expected shortly to close. PRICES IN PARIS. ‘The charge for reserved seats at both those opera houses is fifteen francs and upwards, according to demand, OPERA IN BERLIN, At Berlin the grand German opera belongs to the government. No expense is spared, but owing to the dearth of good singers the annual loss ranges from one hundred thousand to two hundred thou- sand Prussian thalers. Mme. Pauline Lucca seeks her fortune elsewhere, and Mme. Mallinger will shortly follow her. Herr Niemann, the tenor, once a first class artist, is growing old, and incurably addicted to Richard Wagner’s music at the expense of whatever voice remains to him. Herr Betz, the baritone, is the only thoroughly competent singer left. The orchestra and chorus of the Berlin opera are superb, but as the members of both are en- gaged for life, and entitled to a pension after a cer- tain number of years’ service, they have no desire to leave the Prussian capital. PRICES IN BERLIN. Admission to the best reserved seats costs five Prussian thalers. OPERA IN VIENNA. At Vienna the opera is likewise a government Speculation. Formerly it was one of the first opera houses in the world, but at this moment, owing to the dearth of good singers, from a numerous com- pany there are but two performers, the tenor Walter and the young American prima donna, Miss Minnie Hauck, to sustain the feputation of an establishment where such artists as Schroeder Devrient, Jenny Lutzer, Ungher, Helnefelter, Van Hasselt Barth, Titlens, Wild, Staudigal, Formes and Draxler for German opera, with Frazzolini, Lablache, Tamburini, Varesi, Ronconi, Badiali and Rubini for Italian opera, were the attractions in bygone years. As at Berlin, the orchestra and are magnificent, but the members being also engaged for life, with the certainty of n- sion in their declining years, would never of deserting the ‘‘Kaiser-Stadt.”” ‘The new Karntnerthon Theatre (the opera house of Vienna) is one of the most splendid lyric temples in Europe, and the performances there may cer- tainly be praised for excellence of ensemble; out owing to the want of a complete company of at- tractive solo singers the yearly deficit averages about 150,000 to 200,000 Austrian florins, PRICES AT VIENNA. Principal private boxes cost from thirty to forty Austrian florins. OPERA AT ST. PETERSBURG AND MOSCOW. Italian opera, until the last three years, was en- tirely in the hands of the imperial government. Now the two theatres are given, free of charge, with all their belongings, beside band and choi at a cost ofa ion of francs, to an appointe director under government control, he giving the principal artists. Both theatres are worked simultaneously with the same company, the Moscow opera being the most productive in consequence of the largeness of the house, in which no less than five thousand peopie can be conveniently seated, In addition to the aid furnished by government igh can count upon an immense subscrip- th prices (for a stall the cost is twelve silver, per representation) ; and being thus enabled to offer very tempting terms to sing- ers has become a very formidable competitor in the market of operatic art. fi The Emperor, who despotically rules “all the Russias,” gave up the immediate superintendence ofthe tyric drama because, as he said, he “could bets control the singers!’ A lesson for all man- ers, OPERA IN EGYPT. ~ ‘The opera at Cairo is the favorite pastime of the Khedive, one of the most wealthy men, if not the wealthiest, in the world. He recently spent $200,000 pon the production of Verdi’s Egyptian opera, “Aida,” and persisted in playing it constantly to empty houses, Money is evidently no object to him, and so he has helped in no small degree to in- crease the financial pretensions of capable artists, It issaid that when the monetary result of his sea- 80n exhibits a loss of about three hundred thousand dollars he laughs! Incomparable manager! Who can contend with such a reckless Croesus? I can- not give you his prices, but they appear to be of no importance to him and could have little or no bear- ing upon the subject of this letter. OPERA IN SPAIN, ‘The Teatro Real at Madrid receives a liberal gov- ernment subvention and there is generally a very large subscription; but the want of first class singers is felt there as it is all over Europe, and when they can be obtained extravagant terms are given. The Royal Opera of Madrid is no longer what it was some years back, but yet it pays, ks to the artistic spirit of the government and mobility, and the manager is still a troublesome competitor for whatever talent there is. Without goa exact amount Ican state that the prices @re about the same as at Paris. Barcelona, Cadiz and Seville—cities which for- merly were almost on a level with the Spanish metropolis in musical matters—no longer present any claims to the attention of operatic speculators. OPERA IN ITALY. In Italy there are about eighty operatic theatres open during the Winter season, where ‘star’ artists receive such high terms that extraordinary offers must be made to induce them to go else- where, especially to cross the ocean over three thousand miles trom home. Many of the smaller theatres do well at this period of the year, but the larger ones, La Scala at Milan, San Carlo at Naples, the Fenice at Venice and the Pergola at Florence, for instance, when spectacular display fs required as well as operatic excellence, are rarely successful in a financial sense, though more or less supported wa government. Nothing approaching a perfect ensemble per- formance can be obtained from one company at this moment in where the “star” system revails it does aimost everywhere. he Turla opera has rhaps the most complete troupe, but even there formers may be heard whom it would be scarcely fe to bring to the New York Academy of Music. Taking Ital: bytes! it may safely be averred that the demand for good singers far exceeds the sup- ply, and that any manager catering for the Ameri- fan or any other foreign public, especially it the artists be wanted for a Winter season, has to en- founter almost insurmountable difticulties, With respect to the prices at the theatres of Italy they vary 80 much that a list of them would occupy too fe an amount of your valuable space. ie opera of Brussels, the provincial operas of Belgium, France and Italy, all receive liberal sub- ventions from the governments or from the mu- a@icipalities, besides the free use of the theatres, The British metropolis is now the great centre of peratic art. Its musical season is in Summer, while that of Italy, Spain, France, Russia, Egypt and Germany isin Winter. ‘Thus the managers of Her Majesty's Opera and the Royal Italian Opera have lit- tle or no competition to deal with from without, and ean consequently procure companies at compara- tively small outlays. Italy, Germany, Belgium, France, Spain, Egypt, Russia, all give up their rs about the time at which the great London season commences, and England can choose from them at her leisure. With respect to instrumentalists it is the same. If wanted they can be had every moment from the neighboring Continent. Then there are the well-trained native choristers and orchestral performers of the highest merit, who have received their musical education at the Royal Academy of Music or at some foreign conservatoire, all accustomed to work together for years under the same the result is that London operas, neither of which can possibly be equailed in any part of the world, besides having ® public of highly educated taste. Not- withstanding all this there have been such ter- rible financial failures as shonid serve as warnings to eager speculators. London since the time of Handel bas posegssed at least one regwar Italian conductors, and ssesses two ftalian nothin, ende: after holding office for eighteen or nine- during the most brilliant period of 1 ra—when the very greatest singers the world has ever known were in their zenith and all or nearly all of them in his theatre—Lumiey, the Most popular manager certainly of his time, lost about a hal en er ‘of a million of pounds sterling and ‘At Covent Garden or the Royal Italian ‘ani, ‘the taanous otter as it ia termed, Mile, and Galettl were rendered penniless, and Mr. Frederick Beale, the music publisher, lost £8,000 during the first season, Subsequently the theatre was taken by Mr. Dela- fleld, belonging to the celebrated firm of Combe & Delafield (brewers). This gentleman’s loss amounted in ope season and a half to a sum of 000, and terminated in ery net i After this the principal artists took the theatre upon the ip cages’ pbs Res Gyo as their manager; Was 60 vide after pay! all expenses that the scheme was aban- joned. Then, in 1851 (the great Exhibition year), Mr. F. Gye became lessee, backed by certain ee ee ee Colonel Brownlow Kno: William De Berthe, and, subsequently, Mr. lewaite, who died at the battle of the Alma—and one result of Mr. Gye’s twenty years of hard work appears in this, that when he recently desired to form a limited lability conipany it was found that the claims meant his property amounted to about eight hundred thousand dollars, And yet Mr. F. Gye has had some successful seasons, and, most assuredly, placed spectacular operas on the stage ina most magnificent way. Mr. Maple- son, the manager of Her Majesty's Opera, makes no secret that his London seasons are generally car- pe es with loss, though he gains upon his provin- urs. V0" I have spoken of the principal theatresin Europe and shown the amount of suppo! uniary and otherwise, they receive from rent ments, and I may now add with respect to London, (the British government, except Hligbed donation of £500 per annum, recently vot for the Royal Academy of Music, has done nothing for musical art), that operatic managers are very largely as- sisted by the nobility, the leading music pub- lishers and librarians, most of whom parhiase boxes and stalls to @ considerable extent at the commencement of each season, and thus become commercially interested in the managers’ success. PRICES IN LONDON. The price of a reserved seat at either of the great opera houses ig one guinea—about $5 25, gold. The cost of a private box in the grand tier, to hold not more than four Persons, six guineas—about $31, gold. Mr. F. Gye’s apiece son rarely amounts to le ss than 000 {150 ), Which sum it fre- aaa e: 5 Mr. Mapleson’s is seldom far behind it. ‘The British operatic managers have got another resource, which ia concert giving, by which they realize every season x id. Add to this taat the salaries and other expenses to pay amount to less than half what a New York manager must submit to, thor he cannot venture to charge more than $4 for his reserved seats, and $25, currency, for his private boxes, DEARTH OF GOOD SINGERS. Now as to performers. With no less than a hun- dred European managers competing for the best artists, and some offering extravagant terms, the extreme difficulty of procuring a fine company, thoroughly good in every respect, for this country should certainly be taken into consideration. The scarcity is more among male than female vocal- ists, Pauline Lucca, Irma de Murska, Christine Nilsson, Titi Trebelli-Bettini, Adelina Patti, with some few others, have a world-wide reputation; but where are the gentlemen? There is not one attractive youthful teaor of universally admitted first class excellence upon the stage. ‘With baritones the case 1s much the same, M. Faure being the only one accepted as a ‘star’ all over Europe. Neither is there one basso who can be placed on a level with any of the female artists 1 have mentioned. THE CRAMMING SYSTEM, The modern system of “cramming” for certain parte and not stud, art methodically has hrown & mass of uneducated singers oe the operatic stage, who, if gifted with good voices and @ certain amount of musical instinct, may perform two or three parts very well and utterly fail in others. Woe betide the unhappy manager if he is obliged to take the Portrayal of one of the parts they have “crammed” for as a test of their general ability, and woe betide the auhappy singer if he come for the first time before the public (especial the New York public) in some character for whic! he has not been so prepared. lanagers must, of course, become aware of this at last, and the safest thing they can do, after all, is to take singers upon their reputation. iow, joo! over the list of European artists I find that all the principal members of the company Lociaeiepred at the Academy have achieved renown in the pte ipal cities of the Old World, and are probably the best who were to be had at the time mt were engaged by the Academy manage- ment, which can scarcely be held responsible for a system ies produces inequality and uncertainty in vocalis ENSEMBLE. Perfect ensemble may be expected in opera houses where the same performers have been con- stantly playing or singing together for many year and where one opera is rehearsed and performe for several successive months nnder the direction of one person. Butin New York it is hardly fair to look for it. Every season brings many changes, both in the band and chorus. Ditlerent conductors, too, are employed, and a large number of operas must be given in the course of a short season. Under such conditions perfect is next to impos- sible. You aptly remarked, the other day, that the Italian opera might become a kind of “ladies and gentiemen’s club” on a very large scale, but I fear, sir, that if that “consummation devoutly to be wished”? came not until some daring adventurer brings over the entire concert garden troupe, neither of us will be alive to witness it, Consider- ing the present dearth of vocal talent, the large demand for it on the other side of the Atlantic, and consequently high pretensions of singers, I cannot help thinking that the Academy management has on the whole done well—the best that could have been done under the circumstances without incurring disastrous results. VIATOR. New York, Nov. 6, 1872. Shall Italian Opera Be a Fact or Remain a Fiction? To THE EDITOR OF THE HERALD:— At the Academy of Music there is what, out of compliment tothe management, is called an Italian opera troupe. It consists of two prime donne, one great ex-artist, one conscientious but passe singer, several incompetents, an indifferent chorus and aby no means satisfactory orchestra. The prime donne are Madame Lucca and Miss Kellogg; the conscientious singer is Madame Levielli; the great artist, who at times recalls the brilliant light of other days, is Ronconi; the incompetents are tenor, baritone, base and everybody else. For the luxury of hearing this troupe a good-na- tured and not over-critical public is asked to pay $4 a ticket, and occasionally pays it. Sub- scribers protest against the miserable support given to the efMcient singers, but apparently with little effect, for the management, like the Bourbons of old, neither learns nor forgets anything. Now I ask whether New York, the metropolis of America, is not mighty enough to overawe a musi- cal ring which, in its way, is quite as unworthy as that which has disgraced us politically? Shall we continue to pay Orst class prices for third rate performances ? Must amateurs and mu- sicians make a journey of three thousand miles in order to hear a complete opera completely ren- dered? A guinea a stall in London means what ? A fine mise en scene, & magnificent orcnestra, led by a maestro; an admirable chorus, Patti, Lucca, Miolan Carvatho, Albani, Faure, Niccolini, Nau- dill, Cotagni and many other excellent artists in the same company. The audience get the worth of their money. Is not something similar possible in this country? Must art be as ragged and frowsy as a backwoods settlement’? Of course we cannot expect more than one Patti in a troupe, butisit too much to demand that this Patti be supported by artists worthy of the music to be in- terpreted ? Has past experience proved that we are averse to upholding what is really artistic? On the contrary, does not the recent great success of Parepa-Rosa's quartet, consisting of Parepa, Adelaide Phillips, Santley and Wachtel, emphaticaily repudiate the oft-repeated statement that Americans will not pay for what is thoroughly admirable? Carl Rosa actu- ally made an effort to produce a good chorus, and succeeded. What was the result of this combina- tion? Great public enthusiasm and enormous profits, the receipts of no house being less than $8,000! What has been done can be done again. History repeats itself, Why may not operatic cam) 8 ’ “What's in a name ?”’ asks the fair Juliet. 1 re- ply, “Everything,” or there would be more criti- cism and less fulsome praise of artists who come to this country with European reputations, Ameri- cans have not yet learned that there ts as much chicanery in operatic art in the Old World as here, that managers and their friends are to a great ex- tent able to make or mar whom they please, and that it is quite possible to receive unstinted praise from the London press without deservin, it. There is no andience in the worl ag good-natured as that of London. Once a favor- ite, always a favorite, and the passport to favor is not necessarily extraordinary merit. Among these favorites is Madame Lucca, standing not as high as Patti or Nilsson, but nevertheless very pop- ular and rarely criticised by either public or press. Musicians, however, do not hesitate to express their opinion, which 1s this:—That Madame Lucca has a beautiful voice in the medium register; that it is clear, full and even; that she possesses a certain dramatic instinct which at times produces fine momentary effects; that she is magnetic, has affye eye, taking presence and pleases the un- thin! , but that her method of singing is haa, oad at she cannot be called a tue ie iam =6may » sue |, This critich seem severe, st, ‘fan ®Tt means anything, it is for jadame Lucca in ie Leonora 0} «1, 7) ‘d by her last Monday n: tit Favor ita,” as periormed by hei Tutely lost the thread of wE¥S., dts sane Alte Bbso- Tuptly; but the audience, not™ And st ri French, tailed to notice the slip. & mio Fernando! was a misconception Nimooe was an absence of dramatic earnestness from the beginning to the end of the opera. ‘The prima donna’s greatest concern seemed to be given to the neck of her dress. Great artists never arrnage their hair or their clothes in the presence an audience. In the last act, in which passion has full sway, and in which an actress can carry everything before her, what did Madame Lucca do? She entered, knelt down before the church door, buried her face in her hands, and never sitempted. ~~ effect whatever until the final duet with the tenor, when she roused herself, sung with eat energy, but equally at effort, and for the rst time during the performance excited enthu- siasm. Iremembera very different rendering of this same rdle—a rendering such ag is rarely seen the lyric or any other stage. Four years ago, an era within the recollection of the oldest inhabitant, Adelaide Phillips, at this same Academy of Music, created a Leonora that made a genuine sensation. She sung the music as it can only be sung by & pare con- tralto voice ; she acted a8 no one else but Viardot- Garcia could act it. Her pantomime in the last act Was a study; applause greeted every movement; her meeting with Fernando was the embodi- ment of passion; her rendering of the duet was so electric as to inspire even Brig- noli, who acted for the first time in his Itfe, and her death scene was worthy of Ristori. I never saw an audience more impressed. And this was the work of an American artist, who to-day is singing in concerts when the only opera troupe in the coun- try is without a competent contralto, Again, take Madame Lucca in the rdle of Cheru- bino. She rushes upon the st: and renders “Non so che cosa son,” as though she had just been knocked down and intended to return the blow at the earliest opportunity. The audience, knowing nothing of Mozart’s intention, but liking a atep ny. of engrey, applaud where the: should censure. “I don’t know what am,’ sighes the boy with confusion, “I don’t know what to do, Every woman makes me tremble,” 4c. &c. “What do you suppose Lucca is saying?” I asked a listener. “Well, she seems to be in a great rage about some- ing and ready to tear somebody's eyes out.” What criticism. do you think Mo; and chais would pass on so false a rendering? ‘ol che sapete’’ is less offensive musically, but it is in- artistic. The beauty of this exquisite air depends upon phrasing. Lucca’s method of attacking notes is at times no less than brutal, She takes them assault and battery, and 8 Out what should be beauti- tully smooth and liquid. The pumping process may answer, /aute de mieuz, in declamatory music, but it cannot be successfully employed in Mozart's cantabile. ladame Lucca’s bad method, com- bined with short respiration, seems to render her incapable of treat Mozart any more tenderly than Verdi, and her Italian is that ofaGoth, accenting Vier 4 vowels, as, for exam- le, méO instead of mio. ie sets all rules at de- jance, andthe only consolation to be found is that she does not, like Wachtel, invent one word for another. He, with sublime indifference to text, would substitute mangiare for ire, insisting upon eating when he ought to have lied. Then Madame Lucca’s acting of Cherubino is not comparable with what I have seen. She is too knowing for an innocent lad, and is utterly indif- ferent to “situations.” “vol che sapete” should be sung to the Countess, Madame Lucca ignores her completely; stands before the foot- lights and addresses the audience, She makes little of tne cap scene with Susannah; nothing at all of the scene wherein she appears dressed as a peseane irl; and, in deflance of the fact that Cheru- ino has been sent off to his regiment, she marches on at the close of the third act. Is this done with a view to a call before the curtain? . The tis artiade Suecess of Friday night was made by Miss Kellogg In the duet of “Il Capira” and in the charming aria of ‘Deh Vieni.” The lat- ter was beautifully rendered and most deservedly encored, although a few of the gods showed their wi reciation of a pure method by hissing. If Miss ellogg would cultivate a better stage walk, learn to stand erect and aim at a round rather than an angular action of the arms she would overcome some of her most glaring deficiencies as an actress, Certainly no member of the present opera troupe can give her any lessons in the art of singing. To discuss Signor Abi edo’s Sparapani and Conlon would be to waste both time and words, Like horses distanced, they are ruled out of the operatic race, and once more I ask, Are we to have Italian opera in New York, or must we sit through performances where the scores have been pre- viously mutiiated that they may be the more readily murdered by so-called artists? It is not too late to engage talent. Will it be done ? New YORK, Nov. 9, 1871. FREE LANCE. Mr. Maretzek’s Company and Its Critics. To THE EpIToR OF THE HERALD:— Any person who does not visit the opera regu- larly would be ata loss to form anything like a positive idea of the merits of performances spoken ofin the various journals of New York in so con- ficting terms that even those who are regular sub- scribers stand amazed at the monstrous assertions which they find it impossible to reconcile with what they have witnessed in the Academy of Music, or, indeed, with any theory of musical art. Surely one should expect that as the artistic taste of our public rises the tone of our public criti- cism should rise also; but such is not the case. Our dietiantt seem, on the contrary, tobe in advance of those who should be their instructors. What shall I say, for instance, when composers of the greatest eminence, like Auber, the director of the famous Conservatoire de France, one of the most important artistic institutions in the, whole world; the favorite pupil of Cherubini, the man whom no less an authority than Beethoven hailed as the greatest dramatic composer of his time, a man acknowledged by all Europe as one of the greatest musical geniuses—when, of the work of such @ man, a critic dares to write, ‘Fra Diavolo’ is not worthy even the passing attention of an edu- cated musician!” What knowledge of music can such acritic have, what can he be expected to teach the public, or what can the dilettantt of New York think of the same critic when he says, ‘Gounod has written in the church music of ‘Faust’ four bars worthy of the ‘Grande Duchesse?’ ” Can these four vars be pointed out to any musician? Where are they? And what an absurd means of abuse to quote what does not exist! Another critic dares to make his opposition to the only specimen of high musical comedy, the very standard work of this kind—Mozart’s ‘“‘Nozze di Figaro’’—and just by the way to “Don Giovanni,” one of the few works which stood their ground for half a century with such immense popularity. This critic has at differ- ent occasions shown how well worthy of attention his articles are by inserting in the same musical terms the meaning of which is evidently quite un- known to himself. For instance, speaking of Rubin- stein, he says:—‘‘He has added to the piano an arpeggio.”’ We should like any professional or ‘amateur, literary or musical, to come forward and tell us what possible sense can be found in this phrase , or what it can mean; for any one who knows what an arpeggio is could never have written down such a sentence. Every amateur, every public organ, showing the laudable desire to see musical taste make progress in this country as it has done in other lands, must protest against the great public being misled by unwarrantable crftics, by untenable opinions launched into the papers with the boldness of scribes who aga! themselves ignorant in the first elments of the art which they profess to teach the ublic. It is perfectly clear that the reader who finds the grandest and most perfectly beautiful music ever written abused by self-styled judges who com- promise themselves at every moment, ignoring as they do even the signification of the simplest musi- cal term known to every schoolboy, finds this kind of thing very unpalatable, and the question naturally arises, What does this opposition a tout pris mean? Why this attack on everything that science and art have held sacred for such a length of time ? Is the real question criticising or merely opposing, and who are those who thus audaciously set down opinions which they are unable to hold, and must not the unavoidable consequence be to bring the press itself into contempt with all enlightenea amateurs? And isitnot high time that the HERALD, to whom the public look as the true exponent of every matter of public interest, should stay this barking of learned and unlearned dogs and show clearly where the blame lies, where severe critu- cism is due, and not allow the abuse of ignorant scribblera to be thrown on composers and per- formers péle méle—not for the sake of instructing, not in the interest of art, but simply for the sake of abusing anything and anybody ? The same want of knowled, and tact which caused the attack on immortal works has natu- rally been the guiding principle in judging the per- formers by those musical critics who are neither musical nor critics, Criticism is necessary and usefal noth to readers and artists; but a critic ought at least kaow what he is about. It is plain that most of them do not understand what they are writing, and write care- lessiy at best. For instance, one passes judgment on a tenor for “having made the same mistakes in ‘Don Giovannl’ that he did in ‘Faust’—singing ‘Il mio ‘tesoro’ very well—that is, without a mistake.” That is tantamount to gion 3 that he made the same mis- takes that he did before to sing without a mis- take. Setting entirely apart the musical critic, can such a writer be tolerated in an influential paper? Again, he says:—‘‘Miss Doria has a pleasant voice in certain roles,’ which leads the reader to sup- Pose that she has got a second voice for uncertain nr ‘All. these impotent efforts at criticising show nothing but the desire to find fault and the utter incapacity to judge. I must, however, before proceeding to give my own opinion on the troupe generally, make one more remark. There seems obe @ parti-pris with regard to certain artists who come in for a larger share of than fs due to them, just as others are torn to pleces who deserve perhaps some severity, but not to such an e rated extent, as il it was indifferent where Cand shadow is placed, provided there be light somewhere and shadow somewhere elae. Praise 18 bestowed always and Rape catnely ‘on one or two artists, the safer to pull down the others, 1 shall try to give a short outline of the merits of the singers as far as Ican until now judge ‘them, and mete out justice to the best of my ability. Avent Lucca, who is universally acknowledged to be the wigeatest artist who ever came to these shores,» snail speak later, If I say universal, <must except one paper, in whic’ the critic, Who may warn irom any schoolboy what an “arpeggio” really means, enumerates a series of defects he has “iscoverea in her singing, showing his ignorance Perfection, and making state- ments which are, a8 th€ .wverg say, entirely in- consistent with’ the fact, Siues musical reason cannot prevail with # man who aces. know the A B C of music—and I do no’ aren to guess what else his reasons may be—I wii) leave him to himself, ‘The punishment may hard, but deserved. # Miss Kell AR expORIAACeS, well-trained, skil- fal singer, with a bri luiant, flexible voice and a charm! an extremely valu- ig Stage appearance, Is able acquisition, Tough to be @ perfectly first rate singer she lacks richness and fulness of the organ, better acting, superiority of inspiration, and that mpathetic, magnetic charm with which first rate ners of the highest order attract and impress their audience. That she is, next to the starof the opera, the best acquisition that could be made, it may be said that had to be made, I am able to prove. Iadmit that her method is defective, that she cuts her phrases, takes very frequently her notes en dessous, a dreadful habit; that her upper notes from the F upwards, begin to trembling, and other little defects which with great care she might avoid, For all that she was by no means a bad Donna Anna, as gone papers would have it, and it must be borne in mind that the part 18 one of the most diMcult and most trying ever written. Miss Kellogg, who sang the recitatives splendidly—and this alone is worthy of high commendation—gave the air with a thorough cepted of the great composer's meaning, Which is by no means to be underrated. She is not grand enough for certain rts, and has not suficiently that power of charm- ing her audience which made Nilsson’s Traviata such an attraction, but Miss Kellogg is a very de- rene head and, I repeat it, a very valuable ution. One thing the exacting critics ought to bear in mind—engaging singers is not entirely, though chiefly, @ matter of money, At a late hour, when the best singers are already engaged, they cannot be had at any price, and if the managers arrived in Europe only in May, last year, they were necessarily thus prevented from engaging a@ troupe composed of better singers in certain arts. But is the American public aware of he prices which singers ask and of the limits of uous. which the managers of the Academy, of usic could not possibly transgress? If the other singers are expected to be on a par with, least nearly approaching Lucca, their salaries must be the same in Agee. And can that be 80, when a seat is to be for $4 in the Academy, while in London the regular price is a guinea, nearly doubled on Patti’s nights, Lucca or Nilsson nightie, that is to say about eleven dollars? In St. Petersburg, where never a “Don Juan’ was given with such a Zer- lina and Donna Anna the same evening as in New York, where the orchestra is ten degrees be- low the New York orchestra, the regular price is twelve silver roubles, or $10. In Paris, where the expenses of the Opera are, bon an, mal an, 1,300,000 francs, the receipts never reached 700,000 francs, the subvention paying the rest. But who subventions the Academy of Music? A great num- ber of places are taken away by the stockholders, who have a right, whether they use it or not, to be- come competitors, actual rivals in the market of the managers to interfere and advise and impose en- pagetants sometimes cumbersome and annoying; ut where is the compensation for the space taken, that is for the diminished income, by those per- sons, Who exact a still greater outlay? A great outcry has been raised against the genuomen of ue troupe—Abrugnedo, Moriami, Sarapani and Zanl. Moriami has a good voice, sings well, though sometimes in questionable taste (we quote the in- excusable change he makes at the end of the sere- nade), and, though not up to the mark of Don Giovanni, a good actor. But who sang and acted ‘Don Giovanni well? We simply say nobody from Tamburini to Santley, though just these two gen- tlemen sang the part to perfection. There is, we know it well, one perfect Don Juan—that is Faure; but he is not to be had untii next season, and then perhaps the very least he would take would be $60,000 gold. Are the subscribers willing to in- crease in proportion to the number of great singers a, demand, the sum of their subscription ? Then there come Vizzani and Abrugnedo. These two gentlemen have roused the anger of critics and others on anything but reasonable ground. Abrugnedo has got a good voice, which he showed at the general rehearsal of the “Africaine,”’ though sickness, which in this season catches men and horses, as a matter of course, has prevented him from showing the full power of his means before the public. It is but fair to allow him to do 80, and to judge him then. jignor Vizzani has neither a great voice, nor is he an extraordinary singer; but far from being vad, his Italian pronunciation and true emission, singing always in tune, with a commendable knowl- edge of music, make him an agreeable singer. Moreover, he was the only one to be got, since about a hundred theatrical managers have created a greater demand than the supply of tenors can be. That some critics have made up their mind to sacrifice him to their ire becomes quite evident, when I read in a paper that he is “perfectly exe- crable,” though the same paper a few weeks ago called him “a remarkable improvement on Capoul.’’? Sparapani has gota warm, sympathetic voice, sings well, must Improve in acting and particu- larly in pluck before the public, who are so gener- ous and hospitable in America that he really need not be so frightened before them. Jamet isa good singer, with a frank, clear, full voice, sings Italian well, though he might some- times mind his words more carefully, He acts well, too well in some instances, for he makes too much fun as Leporello, who is a ridiculous coward, who ought to make the public laugh at his expense and not laugh at it himself. In other parts Mon- sieur Jamet has proved himself a conscientious, useful, talented artist. Mile, Sanz has suffered, as is generally known, from @ severe attack of diphtheria, and has but within these last days sufficiently recovered to show that she possesses a full, thick, warm, true contralto voice of rare volume and timbre.’ Her Spanish blood warms occasionally to a true intense dramatic feeling, and we maintain that there is no European theatre that can boast of possessing a better contraito. I would have much to say about Lucca, but she cannot be spoken of in a few words, and the limits of this article don't allow me to give the space due to the greatest of living singers and actresses. Great 1s here the anxiety of amateurs to decide as to who is greatest, Lucca or Nilsson. I say Lucca, because the great ar- tistic power is more important than the mere charm. Michael Angelo Buonarotti is greater than Raphael Sanzio d’Urbino, Beethoven is greater than Mozart, the eagle is greater than the nightin- le, and Lucca, who 1s an eagle and a mene: is greater than Nilsson, who was the charm, the distinction, the sweetness itself, but without that great dramatic or vocal power of Lucca. Finally 1 mention chorus and _ orchestra, Neither of them are perfect, but continued drilling is necessary to make them so. That leaders like Mr. Carlberg, who swing the arms round through the air instead of marking a determined, decisive beat; who follow instead of commanding the time of the band; that such men, in fact, who have not one of the numberless quaittles requisite to make a good leader, won't improve the ensemble of chorus and orchestra is ee, certain. Bands, like armies, are made by their leaders. Mr. Maretzek, an experienced musician, an excellent leader, full ofenergy (too fall sometimes for certain move- ments), and having his eye on every singer and on every instrument at the moment of entrée, ‘is the right man in the right place.’ Let us give him a chance to realize our just expectations. New YORK, Oct. 29, 1872, MUSICUS. MUSICAL REVIEW. “Kinderscenen.”? Schumann, These exquisite little gems should be in every musical library, and Messrs. Pond have done a good work In presenting them in such handsome form. “Messina,” Canzone Siciliana, Campana. A pretty, unpretending little song by the favorite composer ot “Non @ ver.’? “ arcadian Waltzes.’ R. Aronson. Good popular themes, well arranged, and when orchestrated are sure to meet with success in a ballroom. “Rain of Blossoms.’’ Morceau. Fritz Spindler. One of the most brilliant and effective compositions in its line that this house has published for many years. “Japanese Galop.” A. H. Pease. This is a work that became popular through the medium of Thomas’ orchestra lastsummer. It loses much of its quaint, odd character when transferred to the piano. Messrs, White, Smith & Perry, Boston, publish a@ fine, dashing, spirited galop dedicated to the Nautilus Boat Club of New York. The composer, Albert H. Fernald, shows considerable ability in the ay of his themes and also of his treatment of em, or at ALLEGED DEATH FROM GRIEF, The Fifteenth precinct police yesterday reported the death of Joseph Pendegrast, sixty-one years of age anda native of Ireland, at 38 West Thir- teenth street, he having died suddenly without medical aid. The police further report that Mr, Pendegrast is thonght to have died from grief, oc- casioned by the death of his wife on Thursday last, her remains not yet having been interred. Coroner Keenan has been notifled and will make an investigation. SUSPICION OF INFANTIOIDE, Captain Kennedy, of the Sixth precinct, yester- day notified Coroner Young that the remains of 4 female infant had peen found in the vault attached to the premises 192 Canal street. Anna Shinder- lin, & woman living in the house, has been arrested on suspicion of being the mother of the child, and she is also suspected of having thrown the body into the vault, Anna will be nfetained in custody tll the matter shall have been fully investigated. NEW YORK HERALD, SUNDAY, NOVEMBER 10, 1872—QUADRUPLE SHEET. SISTERS OF OUR LADY OF MERCY. Imposing Ceremony at the Convent of Mercy in East. Houston Street—Two Young Ladies Receive the White Veil and Two Others Receive the Black Veil and the Blessed Ring. ‘The fortunate possessor of the tiny card bearing the inscription ‘Ceremony of Reception and Pro- feasion at the Convent of Mercy, nine A. M., Novem- ber 9,” might well prize the rare privilege this accorded, for it is seldom indeed that the devout mind ig permitted to contemplate tn alt its solemn grandeur the ceremoniui of @ religious reception and profession at one and the same time. Long before the bright rays of the morning sun had penetrated the dim recesses of the little chapel where the devout Sisters of Mercy perform their daily orisons, the sacristan and her assistants were busily engaged weaving bright garlands of richly colored Autumn leayes with which to deck the altars, and disposing rare Mowers here and there with brilliant effect amid the lighted wax tapers and shining gas jets. At the appointed hour the procession wended its way into the chapel in the following order:—Cross bearer, postulants, novices, professed nuns, and lastly the Superioress, leading by the hand Miss McGean and Miss Graham, the aspirants for the white veil. As is the custom, these two young ladies were attired in white silk dresses, long iMusion veils floating over the deep trains and fastened on the head with wreaths of orange blos- soms, in all respects clad asthe bride whom the man of the world leads to the hymeneal altar, While the choir sang the usual hymn the re- liglous took their places and the young ladies knelt in the middle of the chapel. The hymn being finished, the Rey. Father Starrs, veated in the stole and cope, then blessed the postulants’ candles, and the postulants advancing, knelt, while he placed the lighted candle in cach one’s hand; then, re- turning to their places in the middle of the chapel, they remained sitting while Father Starrs ad- dressed them briefly, but earnestly, upon the step they were about to take. He congratulated them upon their choice of the religious state, and their consequent freedom from the rigid exactions and customs of fashionable society, exhorting them to perseverance. He then alluded to the graver and irrevocable step about to be taken by thelr compantons, the two novices who had already passed the term of probation. To these last he declared that there was yet time toretrace their steps up to the last moment, but having of their own free will come thus tar they could of that, same will determine whether or not the experi- ence of two years and a half should be consum- mated by the vows that bind the religious eternally to the service of God. Bidding them be faithfui, after making these solemn vows, he prom- ised them the enjoyment of those blessings in Store for gli faithful souls, The péstulants then knelt before the altar, while the reverend Father made the prescribed inquirigs, and, having recelved satisfactory responses, the stulants were led from the chapel. The cele- rant immediately blessed the habits, the sacristan carried them away, and the celebrant continued the service by blessing the veils, the choir mean: time singing appropriate hymns. As the new novices again entered the chapel the choir sang “Who is she that cometh up from the desert, flow- ing with Gallente leaning upon her beloved?” and the novices, Kneeling before the Vicar General, re- ceived the cincture, the veil and the white cloak, the Superioress and her assistant adjusting each article of the attire in its order of reception, the choir in- toned the anthem and the novices, retiring a few steps, sang ‘“‘My heart hath uttered a good word; I speak my words to the King.” The choir re- sponded—‘‘Whom I have seen, whom I have loved, whom I have believed, and towards whom my heart inclineth.” The novices replying—“I have chosen to be an abject in the house of my Lord, Jesus Christ.” Then prostrating themselves they remained in silent prayer while the choir sang the “Veni Creator Spiritus,” at the close of the hymn the Vicar General and his assistants con- tinued the appropriate prayers and responses to the end, the celebrant sprinkled the novices with holy water, the Sister Assistant directed them to rise and approaching the Superioress for her bless- ing they retired to their seats. mmediately after the close of this impressive scene the Vicar General knelt before the altar and intoned the “Veni Creator;” the choir took up and continued the refrain to its close, while the celebrant blessed the black veils and rings. The gospel of the ceremony was read and the novices interrogated by the Vicar General, they giving the answers ina clear, firm tone that, by the grace of God, ener hoped to persevere. ns Here the celebration of the solemn mass of the Holy Ghost was begun and continued ag far as the celebrant’s communion, when the Superioress said, “Offer to God the sacrifice of praise,” and the religteuse answered, kneeling, “And pay thy vows to the Most High.’ The novices replies rahe 4 will pay my vows to the Lord in the sight of all His people, in the courts of the house of the Lord.’’ After the confiteor the Vicar General took the blessed sacrament in his thumb and finger and held it before the eyes of the novice, while sne read her vows ina distinct voice, promising to God “poverty, chastity and obedience, ana the service of the poor, sick and ignorant, and to persevere until death” in the exereise of these deeds. She then signed the “act of profession’’ and received the blessed sacrament, her companion going through the same formula, and the mass then concluded in the usual manner. The Vicar General then proceeded with the prayers, the newly professed advanced and knelt at the altar until the prayers were finished, when they arose and said, “Thon hast held me by my right hand, and by thy will Thou hast conducted me, and with lory Thou hast received me. For what have I in heaven? and besides Thee what do I desire upon earth?’ with other versicles, when the choir sang ‘Come, spouse of Christ, receive the crown which the Lord hath prepared for thee forever.” The newly professed then said three times, “Uphold me according to Thy word and I shall live, and let me not be con- founded in my expectation.” Then kneeling, the black veil was placed upon the head of each newly professed, who then arose, saying, “He has placed His seal upon my forehead that I should admit no other lover but Him.’ ‘The choir then replied in thrilling strains, “Come, my beloved, come to be espoused—the Winter is past, the votce of the tur- tle is heard, and the flowering vines yield their sweet perfume.” The newly professed again knelt, the Vicar General placed the blessed ring upon the third finger of the hand, with the words, “I espouse thee to Jesus Christ, the son ol the Father most high, who shall preserve thee inviolate. Receive, therefore, this ring. the seal of faith and of the Holy Ghost, that thou mayest be called the spouse of God. And if thou shalt svere Him faithfully thou shalt be crowned forever. In the name of the Father, and of the Son and of the Holy Ghost, Amen.” The newly professed then arose and sald, “I am espoused to Him whom the angels serve, whose beauty the sun and moon admire.” Then the Vicar General pronounced the pees blessing, the newly professed see in the proper versicles, and then prostrated in the middle of the chapel, while the choir sang the ‘Te Deum; the Vicar General then finished the pray- ers, sprinkled the newly professed with holy water, when they arose, knelt to the Superloress for her blessing, and then conveyed the kiss of peace, in company with the new novices, to the assembled religeuse. The procession left the chapel in the same order as it entered. Miss O'Reilly (Sister M. Austin) and Miss Ferrier (Sister M. Regis) were the recipients of this last high honor in the house of God, while the new novice, Miss McGean, received the name of Sister M. Berchmans, and Miss Graham that of Sister M. Thomasina. Among the clergy present were Rev. Fathers Pres- ton, McGean (brother of one of the new novices) and a large number of others, who, with the rela- tives, completely filled the parlors of the convent to offer their congratulations to the happy quartet. THE PUBLIC WORKS. The Trouble Between the Comptroller and tne Department of Pablic Works— How the Case Sta) By the provisions of section 7, chapter 872, of the Laws of 1872, “All the powers and functions here- tofore possessed by the Department of Public Parks in relation to the Boulevard (road or public drive), streets and avenues above Fifty-ninth street not embraced within the limits of any park or public place, and ail provisions of law conferring powers and devolving duties upon the Department of Public Parks in relation thereto, are hereby trans- ferred to and conferred upon the said Department of Public Works.” On the 6th June a communication wrs received by the Commussioner of Works from the Department of Parks, stating that the Presi- dent of that department had bgen informed that the Governor had approved the bill transferring the works of roads, &c., above Fiity-ninth street to the Department of Works, and desiring to be in- formed officially if such was the case, that he might be governed in the matter of supplies, The Com- missiener .of Works on the same day sent the Department of Parks @ copy of the law and requesting a transfer of the work and tools and material, &c., connected therewith Afew days thereafter the Department of Parks adopted a resolution directing the President of that department to make the transfer as requested by the Committee of Works, @ copy of which reso- lution was officiallv transmitted to the Commis stoner 01 Works, 16 sypou. 115 eam Department of Parks, or the Presiden. A. Olmsted at that time being President and acting under the advice and control of. Mr Green) thereot did not intend making the transfer, Com- missioner Van Nort sought the legal opinion of Henry H, Anderson on the subject, who, alter a careful examination of ail the laws affecting this subject, rendered an elaborate opinion, concurring with the opinion of the Corporation Counsel as to the constitutionality of the act and the right of the Commissioner of Public Works in the contaol of the woaks in question. A few days after the Commis- sioner of Public Works took possession of the works and notified the Department of Parks accordingly, At a meeting o| the Department of Parks on 19th June, adopted aresolution requesting an opinion from the Cor- poration Counsel on the subject, which opinion was rendered under date of 2ist of June, in which he said—*I regard section 7 chapter OR laws of 1872, 4 valid provision, and binding on the Department of Public Parks and Departinent of Public Works.” The objection that the act being invalid beca: @ local act, its title is affected. State Cons! section 16, article 3, does not seem to be welk taken,” whereupon the Department of Parks adopted a resolution, as follows:— Resolved, That the coporation counsel being the legal advisers ot'this Board, and having decided, section 7 chapter 1872 of laws of IS7Z, relative to the transter of Boulevard, streets, roads ald avenues to the Department of Public W »'be constitutional, this Board abides bj his opinion and adopts the suggestion therein contained. The Corporation Counsel, on the 26th of June, sent to the Department of Parks a further opinion, in which he said—“I regret that the manner in f which this question was presented to me, the sud- denness and haste that attended it prevented that. deliberate examination without which a question of the kind should not be disposed of, To these de- ficiencies must be attributed any doubt expressed in my memorandum for Messrs. Porter & Strahan, dated June 19, 1572, and all in my let ter to the President of the Department of Parks, dated June 21, a3 well as my suggestion that the matter should be judicially ex- amined.” Ido not think such a step necessary or advisable. An open and public disagreement be- tween these two important branches of the city government ought if possible to be avoided. It might produce most mischievous results in unset- tling the public confidence in the correct- ness of much that has been done and give new impulse to much mischievous litigation, The Department of Public Works is clearly justified in acting in obedience to the law which confer powers and impose duties upon it.| The Counsel to the Corporation sees BO reason to; believe that the said laws are invalid, and cannot advise that they be disobeyed. On June 28 tha Commissioner of Public Works, in accordance with the provisions of law, notifled the Department of Finance that he had designated the Chemicak Na- tional Bank as the depository of moneys for this department, and on July 2 made reduisition on the Department of Finance that $46,000 be so deposited. ‘The Comptroller failing to respond to this requisi- tion, and Commissioner Van Nort being anxious’ that the enzineers, clerks. laborers, &c., should receive their pay, @ mutual agreement was arrived at between Mr. Green and Mr. Van Nort that the Comptroller should for the present pay three pay rolls, which the Comp- troller proceeded to do for a while, ‘until he declined further to pay the engineers, clerks, &c., and has so refused for three months. When another case was made and taken before Judge Leonard, and argued by Judge Porter on behalf of the Comptroller, and by Mr. H. H. Anderson for Commissioner Van Nort. When Jndge Leonard delivered an opinion in favor of Commissioner Van Nort and granting a preremptory mandamus against Comptroller Green, directing the furnish< ing ofthe money for the perneny of the claim, which the comptroller sti!l lines to obey. A LARGE STEAM YACHT. Mr. H. N. Smith’s Pleasure Craft Amer- ica—She is To Be One of the Largest in the World and Very Fast—Her Dimen- sions, Machinery and Intended In- ternal Arrangements. Two months ago the keel of a steam yacht, de- signed to be one of the largest and most complete: in the world, was laid at the shipyard of Mr. Henry Steers, foot of India street, Greenpoint, and her construction is now so far progressed that some idea of her great size and model may be formed. The order for this craft was given the builder by) Mr. Henry N. Smith, the banker and noted Wall strect. operator, and, not unlike many of his ventures inj the stock world, the matter of construction was quickly decided upon. Speed was the result de-' sired, and this was duly impressed upon Mr. Steers/ who at once went to work to attain that end, att the same time giving the necessary accompani-! ments of comfort, convenience and luxurious ease. | “[ want a fast boat—a trotter; I have got th fastest horses on the turf, and now I want thel fastest yacht,” is said to have been the expresston} of Mr. Smith, who is the owner of Goldsmith Maid,{ Lucy, Rosalind, Jay Gould and other noted clippers of the turf, and a “trotter” the new steam yach ia expected to be. The presence of the English{ steam yacht Eothen in the harbor of New yore recently, and which is one of the largest vessels 0! her kind belonging to the Royal Yacht ivaand makes the construction of Mr. Smith’s yach' of more than ordinary interest, perhaps, as it i: the intention of her owner, or so understood, thatl 80 soon as she is completed he will make a trans-' atlantic trip, and in English waters astonish our brethren there with her remarkable seagoing} qualities and speed. And this visit, assuming that; it will be made, will possess a double interest, ag the vessel will be called the America, after the noted sailing yacht now belonging to the United States Navy. The dimensions of the new steam yacht follows :— are ad Length of keel........ Length on water line. Length over all....... Extreme breadth of beam Depth of hold.... Draught of water. Tonnage, about 670 tons, O. M. The best possible materials will be used in tha construction of the America, and great cel fo of of workmanship will be attained. The keel is o white oak; the floors of white oak and live oak ; th top timbers of live eak and cedar; the beams, ceil ing, &c., will be of yellow pine; the stanchions o: locust, the planking of oak, and all other material: of like excellent character. The deck planking will be of white pine, three inches square. The model of this vessel 1s exccedingly sharp,| not unlike some of the successful yachts belongin; to the New York Yacht Club, and though she would be a little narrow for a spread of canvas alone, = a@ racing craft, even in this respect it is assumed! she would not prove a@ failure, The stern of this vessel will be square below and elliptical above, with eleven feet overhang. Her rig will be that of @ topsail schooner, The machinery of the America, now in course of construction by Messrs. Fletcher, Harrison & Oo. of West street, this city, will be of that descriptio to insure the speed desired by her owner. There wil be two direct-acting overhead propeller engines, with cylinders 33 inches in diameter, an @ stroke of piston of 2 feet 9 inches. Thes will be finished in the most artistic manner an every portion of the machinery above deck will r ceive such skilful mechanical handling that ii will be a treat to look upon. Steam will bi furnished from one return tubular boiler of the fol- lowing dimensions:—Shell, 11 feet; tront, 13 feet length, 29 feet 3 inches. The fire room will be 9 fee! wide and the engine and boiler space will be 51 fee: in length. The machinery will be placed amidships, The propeller will have three blades, being 10 fee! oe es in diameter and having a mean pitch of 1 feet. The accommodations of the America will be of! the most convenient and comfortable nature, There will be a main saloon #ft the engine, 50 feet in length, which will be finished in hard wood and! elegantly fitted. There will a ladies’ boudoir aft and the owner’s stateroom and other necessary apart-| ments. Toilet rooms will also be fitted here, and| this portion of the yacht promises to be very pleas. ant, but not more so than that forward, perhaps, here will be staterooms fitted up for guests, all t be finished as the sa’oon, with hardwood. All th houses on deck will be of pleasant design and i every particular built of mahogany, as will the sky- light combings and the companion ways. Ther will not be any paint visible on deck, Such, in brief, are the dimensions, the machinery, intended accommodations and fittings of tha America, With fifty pounds of steam tha builders expect toshow the yachting public a max imum speed of fifteen knots an hour, Mr. Steer: will have the hull ready to receive her machiner; in about six weeks, and very early next seasoi those interested will have the opportunity of jud; ing whether she can “trot” or not, j Yachting Notes. .,. The schooner yacht Enchantress has been sold b; Mr. George Lorillard on private terms. She is wag at anchor in Wallabout Bay. The schooner Yacht Wanderer, N. Y. Y. C., Mrg Louis L, Lorillard, is at anchor alongside the En< chantress, i} The schooner yacht Rambler has been purchase from Captain Forbes by Mr. Thomas, formerly ot the Linga. She is at anchor off Bay Ridge, L. I. The schooner yacht Dreadnought, N. Y. Y, 6.,{ Mr. Stockwell, left her old anchorage in Atlantia Basin a few days since and has gone to New London, to be laid up for the Winter, , The schooner yacht Magic, B. Y. 0., Mr. Rufus lon. } Hatch, is also laid up at New Londo Gl Eothen, R. Y. 8., Mr., The English steam Thomas Brassy, M. P., ls now in Southern waters, but will return to this port by the 18th inst, Sha will then be laid up alongside the Dauntless im Gowanus (Creek for the Winter, and early in Spring Mr. Brassy will return for her. The sloops Gracle, N.Y¥.0., Mr. Colgate; Addie, N.Y.Y.C., Mr. Langley; Triton, BY... . Thayer, and schooners Peeriéss, N.Y.Y.0., Mr. Maxwell, and] Agnes, are lying at anchor of Smitn’s dock, South)