_Amateur Concerts—Difference between Stage Singing and Chamber Singing—Effect produced by Stage Acting on the Manners and Conversation in Private—Origin of the modern florid style of singing—Conclusion._ Concerts are popular all over the Union, but in no other town are they so successful and popular as in Philadelphia. We have here all kinds of these entertainments, Ethiopian Concerts—Donation Concerts—Society Concerts, such as the Musical Fund and Philharmonic—and pre-eminent above all others, in point of fashion, Amateur Concerts. A small, good Opera Troupe, it is true, would be of more service to our musical taste; for this hearing the works of great masters by bits, as it were, is not of much benefit; however, so that we have music in some manner is better than not to have it at all. The concerts of the past winter were all well attended; but the Amateur Concerts were the favorites, and were, indeed, very successful. The amateurs, both ladies and gentlemen, surprised their audiences; and great praise is due to “_Maestro Perelli_.” We have heard some of them execute pieces in a manner that would have done credit to a professional singer. But while we admired, we felt a little disposed to remonstrate, for one or two old-fashioned reasons. If they are really amateurs, and are training their voices for private singing, are they not running a risk of injuring their style by singing in public? In the olden times of vocal training, there was always a marked difference made between public and private singing. So particular were the old masters that they divided singing into three classes—church singing, stage singing, and chamber singing. Church singing required a more simple manner, a more pure and severe style, than stage singing; but the voice like that intended for the stage, had to be strong and full, with great volume and power, and the intonation clear and correct. There was not much difference between the voices of the church and stage singer; that is, it was not thought that either style injured the voice for the other, on the contrary, some of the finest voices the Italian school has produced, have been trained in church choirs, under the old chapel-masters. But there was always a marked and decided difference made between stage singing and chamber singing. For the latter, it is necessary to have a plain, simple manner, a clear, pure intonation, good articulation, and great polish. The cadenzas and ornaments should be few, but of the most exquisite style and finish. Strength and volume of voice are not so much needed for the chamber singer, as delicacy of articulation and purity of tone.