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SACRED HARMONIC SOCIETY.

The first of the usual Christmas performances of The Messiah took place last night before one of the largest audiences we have seen assembled in Exeter-hall.

Ordinarily this familiar event passes with a mere record of the fact, but the announcement of a singer, new to London, who was to undertake the whole of the very arduous soprano music for the first time imparted a special interest to the present occasion. Mrs. Clare Hepworth is from Glocester, and at the recent festival of the three choirs, owing to local influence, was assigned a somewhat important part in the morning and evening performances—too important, it was suggested at the time, for a beginner. The lady's friends no doubt imagined that from the Townhall, Clocester, to Exeter-hall, London, was but a step; and this opinion might have held good providing the step was not adventured at the concerts of the Sacred Harmonic Society, where to win consideration is almost synonymous with being in the first rank of the profession. Whatever may be Mrs. Hepworth's qualifications and the hopes founded upon them, they went for nothing last night.

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Fancy a young and inexperienced person, who had never enjoyed but one trial, coming directly on the strength of it to essay the most difficult part in the greatest of oratorios, and at the concerts of the first society in the metropolis! Such boldness could only be justified by entire success. The opening recitatives, “There were shepherds,” &c., which follow the “pastoral symphony,” were enough, however, altogether to unnerve Mrs. Hepworth, whose intonation was so false, owing to the excessive trepidation under which she suffered, that it was impossible to know what she was singing. The brilliant air, “Rejoice greatly,” brought this little drama to an end; Mr. Costa was compelled to stop the orchestra, and Mr. Sims Reeves to lead away the débutante, whom we sincerely hope to meet again some future day under circumstances more favourable. The audience applauded her as she quitted the orchesta, under the evident impression that the fault was not so much her own as that of her too confident advisers. “He shall feed his flock” was of necessity passed over; and the chorus taking up “His yoke is easy” brought the first part of the oratorio to an end. In the course of the second part Mr. Bowley, one of the most energetic members of the committee, informed the audience that Miss Louisa Vinning had consented to undertake the remainder of the soprano music “at a moment's notice,” demanding indulgence for her on the plea that she had never publicly sung in The Messiah. Miss Vinning then made her appearance and was loudly welcomed. Before she was half through “How beautiful are the feet” she had perfectly convinced her hearers that no apology was necessary; and that while she might never have “ publicly” sung in The Messiah till now, she must have done so very often indeed, sub rosâ, to be so well acquainted with the music, and to execute it with such ease and aplomb. This conviction was trebled in force by the manner in which she gave “I know that my Redeemer liveth.” Each air was followed by a genuine burst of applause; and Miss Vinning sat down, having achieved, impromptu, a success as complete as if she had been preparing for it assiduously a twelvemonth in advance. Although new to the Sacred Harmonic Society, this lady is not unknown in musical circles. Many may remember her a child, playing cleverly upon the harp, under the cognomen of the “Infant Lyra;” and of later years a still greater number have recognized in Miss Louisa Vinning one of the most promising students in the vocal classes of the Royal Academy of Music. Since leaving that institution she has sung both in London and the provinces with success. Her voice is a clear and pure soprano; and, although she has much to learn in her art, she is already mistress of enough to warrant high expectations in her favour. She never had such a chance of distinction as that which accident accorded her last night; and if, which is not unlikely, it proves to be the stepping-stone to a prosperous career she will have to thank her knowledge of Handel, in whose songs had she not been “well up” she could not have availed herself of the opportunity. Thus what was poor Mrs. Hepworth's despair was Miss Vinning's felicity.

In other respects the performance of the Messiah was admirable. Of the choruses it is unnecessary to speak; but the solo singers were equally to be commended. Mr. Sims Reeves, who made his first appearance for the season, and who has only just recovered from a severe indisposition, has rarely sung the great airs and recitatives— from “Comfort ye my people” to “Thou shalt break them with a rod of iron”—in more masterly style. Dignity, pathos, and energy are alternately demanded in the many and various pieces with which Handel has enriched the tenor part in his Messiah, and these were found united to faultless musical execution. Herr Formes sang his best, and, as usual, afforded immense satisfaction to the audience. In “The trumpet shall sound” the obligato part of Mr. T. Harper was as remarkable as ever. In the contralto music Miss Dolby always sings too conscientiously to leave a chance for criticism. The custom now established of giving the air, “But who shall abide” to the contralto (instead of bass), and “Thou didst not leave his sould in hell” to the tenor (instead of soprano), is satisfactory, inasmuch as it is in accordance with Handel's intentions.

The Messiah will be repeated Friday for the first appearance Madame Clara Novello.