cular and rare occasions, and it is
difficult to find out when such performances will take place; sometimes
it is announced in Galignani's paper but not always, and their sacred
music is often most exquisite particularly that which is vocal.

In respect to singing, although the Conservatory of Music and the most
talented masters give every advantage to the pupil of theory and
science, yet they cannot confer a fine quality of voice where it has not
been afforded by nature, and that deficiency I find generally existing
with the French females; they will often attain an extreme height with
apparent facility, and even will manage notes at the same time so low
that no fault can be found with the compass of their voices, nor any
lack of flexibility; their execution being perfectly clean and correct.
I have frequently heard them run the chromatic scale with extreme
distinctness and apparent ease, and acquit themselves admirably in the
performance of the most intricate and difficult passages, all of which
is the result of good teaching and attentive application of the pupil,
but sweetness of tone exists not in their voices, which are generally
thin and wiry; they want that depth and roundness which gives the swell
of softness and beauty to the sound; hence there is generally a want of
expression in their singing as well as their playing. Of course there
are exceptions, and Madame Dorus-Gras may be cited as such, as well as
many others, who have won the admiration of the public. The voices of
the men are better, often very powerful, possessing extremely fine bass
notes, but many of them have even still a horrid habit of singing their
notes through the nose. I don't know whether it is that they regard
their nasal promontory in the light of a trumpet, so considering it as a
sort of instrumental accompaniment to their vocal performance, but
although it is a practice which is wearing off, there is a great deal
too much of it left. Nourrit had none of it, his voice was firm and
sweet, and few men have I ever heard sing with so much feeling. Duprez
is also a singer of no common stamp, and of whom any nation might be
proud, and I have often met men in society sing together most
delightfully, either duets, trios, or quartettos, and totally devoid of
the nasal twang, or, as the reader will observe, delightful it could not
be.

CHAPTER XII.

Instructions for strangers; remarks upon the feelings and behaviour
of the lowe