the celebrated Salaman symphonic concerts. The characters of _Vittellia_
and _Cesto_ were splendidly performed by the two singers; but the
Italian part of the company did not perform the difficult and exacting
music _con amore_, neither were the audiences of that day trained up
to the appreciation of the glorious music of Mozart which has obtained
since that time.

Braham's career as a singer of English opera is that with which his
glory in art is chiefly associated. His first appearance was in a
somewhat feeble work called the "Chains of the Heart," and this was
succeeded by the "Cabinet," a production in which Braham composed all
the music of his own part, both solo and the concerted portions in which
he had to appear--a custom which he continued for a number of years.
Seldom has music been more popular than that in which Braham appeared,
for he knew how to suit all the subtile qualities of his own voice.
Among the more celebrated operas in which he appeared, now unknown
except by tradition, may be mentioned "Family Quarrels," "Thirty
Thousand," "English Fleet," "Out of Place," "False Alarms," "Kars,
or Love in a Desert," and "Devil's Bridge." As Braham grew older he
attained a prodigious reputation, never before equaled in England. In
theatre, concert-room, and church he had scarcely a rival; and whether
in singing a simple ballad, in oratorio, or in the grandest dramatic
music, the largeness and nobility of his style were matched by a voice
which in its prime was almost peerless. His compass extended over
nineteen notes, and his falsetto from D to A was so perfect that it was
difficult to tell where the natural voice ended. When Weber composed his
opera "Oberon" for the English stage in 1826, Braham was the original
_Sir Huon_.

Braham had made a large fortune by his genius and industry, the
copyright on the many beautiful ballads and songs which he contributed
to the musical treasures of the language amounting alone to a handsome
competence. But, following the example of so many great artists, he
aspired to be manager also. In conjunction with Yates, in 1831 he
purchased the Colosseum in Regent's Park for forty thousand pounds, and
five years afterward he spent twenty-six thousand pounds in building
the St. James's theatre. These speculations were unfortunate, and Braham
found himself compelled to renew his professional exertions at a period
when musical artists generally think of retiring from the stage. He made