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silver and silken tones and delicate embellishments proclaim her mistress paramount of her own peculiar style that of tenderness; Madame Favanti, quite a new and approved débutante on our boards; Coralli, a good even tenor; M. Felix (in temporary place of Fornasari); F. Lablache and A. Giùbelei; who support the before-Easter operas, "Adelia," "Zampa," and "La Cenerentola." This is all very good, even if it might be better; and assuredly the success is not apportioned to the merit of the same.

However, the partial success of the opera is made up by the unprecedented popularity of the most dramatically-conceived ballet ever put upon the stage in our knowledge. To opera-lovers and balletfanciers, "La Esmeralda" is, indeed, a charming spectacle. Carlotta Grisi, its refined and ethereal heroine, the brilliant muse of dance, has become already identical with the original character in Victor Hugo's work. She is, in a happy degree, the tender yet impassioned, the firm yet childish, savage of the reckless horde.

It would seem that Perrot had advanced the art of ballet-building : his eye to scenic effect is equal to his knowledge of a model play. Had he heard the author himself discuss the intent and relative bearings of his masterpiece, he could not have better seized upon and made them his own. While adverting to its music, as of a class to please rather than astonish, we must also remark that every successive night of its performance it wins upon the ear and the taste, till we ascribe the merit of originality where we at first, perhaps, attributed tameness. Beautiful as a whole, this ballet attaches us in a particular degree by the splendour and effect of the numerous tableaux vivans. These make it alone (even without its scope for good acting, its many and agreeable pas de danses, and their fine execution by Carlotta Grisi and St. Leon) the best ballet that has appeared these twenty years; a classic combination of composition in dumb show, with the sister arts of music and of dance, the whole enclosed in a pictured framework, the very poetry of scenic display.

It is, perhaps, invidious in the critic of a ballet to object to the putting before the public scenes something unmeet for its eye: such as that between Pierre Gringoire and La Esmeralda la nuit des noces, or that of Phœbus and the latter at the cabaret; the more that Carlotta tones down and softens their questionability by the inimitable grace with which she delivers her emotions to the audience: she leaves infinitely smaller room for fastidious offence, even amid the efforts of her art, than does the novel itself from which it is produced.

It is singular that the Parisian gusto for extravagance should never be satiated that it should still pile Pelion upon Ossa of monstrous abortion, and descend from Scylla into Charybdis in the pools of licentiousness. We shall gladly welcome the advent of a day when the great literary claims of our continental contemporaries will no longer be jeopardized for posterity by the mania for raking out the foul places of the mind, and for displaying before the wives and daughters of a great nation in their writings all the conceivable and inconceivable insanities consequent to this vicious taste. There will come a time (in our own experience, as we trust) when works similar to Victor Hugo's "Notre Dame de Paris," Frederic Soulie's "Memoires du Diable,"

Eugêne Sue's "Mysteries de Paris," Balzac's "Perè Gariot," shall not be more popular for their egregious portraitures than for the genius which sparkles through and redeems them.

We were glad to see mention made in the journals of the month of the warm reception given to that prince of conductors, M. Costa, on the first night of his appearance at his accustomed seat. His desert and ability truly warrant the cordial approbation of the musical world.

Madame Albert is the novelty of the ST. JAMES'S THEATRE. Since Achard's departure, she has secured unabatedly the attention of its courtly throngs. Her acting evinces much discrimination. As Aspasia, in "La Fille de Figaro," she was very agreeable. We have not seen her in her other favourite characters. She, the star, was supported ably by the satellites of Mr. Mitchell's elegant establishment.

The appearance of Dupréz, the Parisian, on the boards of DRURY LANE THEATRE, is another novelty of the last month. The two great political rivals, England and France, are fast becoming on a par with Germany and Italy in musical science, and its twin civilizers, painting and sculpture. Dupréz, as a tenor, has been named the most eminent in Europe; however that may be, his harvest with us is likely to prove a golden one. His great part of Arnold, in "Guillaume Tell," exhibits his powers very forcibly. His style is declamatory, and vehemently passionate; his voice displays a fine fulness, strength of lungs ad infinitum, a manageable coarseness, and the intensest study, with the graces of the French and Italian schools united. His peculiarity is the wonderful clearness of his enunciation. This full utterance of every syllable gives a superior interest to the rôle he performs, and makes it almost a new creation. As a singer, although probably now declining from the acme of his powers, he must be a subject of close observation to our own vocalists. It is by the spectacle of the higher orders of art that we improve and exalt our own practice; and we have seen few more capable than M. Dupréz of affording an useful example in the vocal art to others of his profession. Miss Romer is capital as Matilda, in "Guillaume Tell." This young lady is greatly improved: she sings and acts in this fine opera with the skill and spirit worthy great commendation.

The HAYMARKET THEATRE, under the conduct of its able manager, presents to the public several novel features. The chief one is the putting on the stage another of the humorous and least interesting of the plays of the great bard. As this comedy is a disputed one, reported to be only a part-production of Shakspeare's, we shall only advert to the "Taming of the Shrew" as (in despite of its length and the Italian plot, which renders it tant soit peu insipid) replete with the broad farce and happy hits of the age in which it was written. We hold the metropolitan public to be greatly beholden to Mr. Webster for making it familiar with the language of him who has been called, "from the variety and comprehension of his genius, the greatest individual mind, on the whole, of which we have specimens remaining." It is of this universal, all-imbibing mind, this great index of the kindly emotions, of the noble and beautiful of

which we crave to know more, and of which we are always too long deprived in the dearth of actors capable of exposing and developing its ever new and ever-faithful analysis of humanity, of penetrating its subtler meanings, and of elucidating the somewhat obscure curtain of idiomatic phrase of the epoch, by the revealing and magnetic powers of emphasis and gesture. Mr. Charles Kemble, at the dinner of the Theatrical Fund Society, a short time back, spoke eloquently on the subject, and of his regret that Shakspeare was banished from the two national theatres of this capital. It is true that the constant study of this one mind would comprise half the knowledge requisite in life: its telescopic vision secured a range that embraced all objects, all trades, all ranks, all feelings, all distinctions, within its scope, that as well conceived the cares of royalty as the desolation of the beggar; that took to pieces as easily the proud heart of the Roman patrician, as the rougher nature of the turbulent citizen; that knew as well the fine temper of woman's soul, as her passions, weaknesses, and crimes. In fact, in despite of the imperfections arising from the desultoriness of his education, his profession, and the habits and manners of his age, the great expounder of man, in the aggregate, to himself is our own noble Shakspeare. Thus, then, it gives us unfeigned pleasure to witness on the stage plays even such as the "Merry Wives of Windsor," or the "Taming of the Shrew." It is an indication of the popular taste setting, slowly and surely, the right way. The cast of the characters in the last produced comedy is a very creditable one. Strickland, James Bland, Webster, Buckstone, Mrs. Nisbett, Miss Julia Bennett: nearly the whole strength of the present company are in it.

The PRINCESS's THEATRE attracts more than ever by its last effort, the production of the opera of Othello in English guise. We have always advocated the merits of Mr. Allen, as a tenor of high purity, although of unequal power: we are glad to perceive that he is making his may thoroughly and securely with the good judges. "Gone to Texas" is an amusing afterpiece, and Mr. Keeley's character in it is sustained in his happiest manner. There is a smartness in the equivoque of this little piece that maintains the audience in a state of laughing good humour during the whole representation; but, indeed, we never witnessed at this convenient cabinet de spectacle any mood in its frequenters but that of high satisfaction.

The Theatre Royal ADELPHI rejoices in the romantic wretchedness of "Henriette the Forsaken;" in "Anthony and Cleopatra Married and Settled;" and the last, not least, enjoyment of the "Christmas Carol." No audiences should be sentimental, merry, and wise, if they take their hue from the complexion of the pieces that they see acted. It is a pity that this theatre is so inconveniently constructed that it cannot hold all who are desirous of entrance, while many of those who do get in are miserably placed as to sight.

The STRAND Theatre by no means gives up its established privilege of amusement to its nightly throng. "Richard ye Thirde, or ye Battle of Bosworthe Field," seems a favourite of its frequenters. Although we continue to patronise its version of the "Christmas

Carol," yet we should like to witness there such another exhibition as Risley and his son.

The ENGLISH OPERA HOUSE is said to be under course of revival once more, under the superintendence of the clever Keeleys. It is, to our thinking, the most lively-looking house of them all, with its balcony and boxes, but more adapted for such displays as M. Julien's concerts and promenades than for the drama.

The Concert season has begun with unusual vigour. In truth the English are becoming on ne peut plus musical as a nation. A mere enumeration of a few of the public concerts already given, and well attended, will suffice to prove the truism: Exeter Hall, with its Oratorios; the Concerts of Ancient Music; the Philharmonic; that of the pupils of the Royal Academy; Mr. Dando's Quartet Concerts, &c. &c.

The POLYTECHNIC Institution increases in favour as a resort of the juvenile world desirous of instruction in the philosophy of science. Able lecturers attend daily, and simplify obstruse matters by the practical system of explanation; and one novelty or other rewards the attendance of the more mature visitor of this interesting resort.

The ADELAIDE GALLERY is also rising in the scale of importance. It is gratifying to remark the diversity of objects that attract the attention and reflection of its knowledge or pleasure-seeking throngs. Here we find M. Claudet's Daguerreotype, performing its flash of lightning wonders; there a solo performer gives a first-rate overture or waltz. The bell rings, and all classes flock around Dr. Lang to hear a lecture on Mechanics, or Natural Philosophy. In this corner are clocks of curious construction; in that, model ships, beds, houses, shoes and philosophical toys, from the baby's plaything to the man's machine. The bell rings again, and Mr. Maugham's easy colloquial discourse on some chemical fact wiles away an agreeable quarter of an hour. You turn from it to examine the gallery of pictures, the foreign curiosities, the innumerable scraps of disjointed knowledge in arts and manufactures which meet your eye and your understanding, here, there, everywhere; and the whole relieved by music of a firstrate quality. Now, is not this a tempting programme of a couple of hours' entertainment, morning or evening, as the case may be? and is not London, with its museums and exhibitions, its dioramas, panoramas, cosmoramas, collosseums, and zoological and botanical parterres; its galleries of science, its clubs and colleges, its playhouses and concert-houses, its monuments and libraries, its shops and equipages, its business-loving and pleasure-seeking masses; a singular and almost incredible source of wonder and amusement in itself? Doth not the cynic himself say, "London, with all thy faults, I love the still?"

P.S. On Saturday, the 23rd ult., Miss Edwards, of the Royal Academy of Music, made a triumphal début as Cenerentola, at Her Majesty's Theatre, under the pseudonyme of Singora Favanti. This lady infinitely excels all the English vocalists that have as yet appeared. In our next we shall speak more at length upon the style and capabilities of this accomplished lady.

MONTHLY MISCELLANY.

It is with most sincere regret that we have to record the death of another young nobleman, from an accident which occurred when he was about to engage in the chase. The following are the particulars of this melancholy affair:-On the 18th ultimo, Lord W. Hill, captain of the Scotch Greys, now stationed at Ipswich, met with his death near the village of Bramford, about four miles from that town. It appears this unfortunate accident occurred at the seat of the dowager Lady Middleton. Having mounted his horse, his lordship seems to have dashed with his well-known boldness down the park, riding his horse at the very top of his speed. At the bottom of the hill there is a pond, and, in endeavouring to turn so as to avoid it, the horse, in the highest state of excitement, bore his lordship with so much violence against a large tree, as to knock him off his seat and cause instant death. The trunk of the tree jutting out considerably, the unfortunate nobleman's head came in contact with it. No fracture took place, and there was scarcely an appearance of violence; but so intense was the shock, that his lordship appears not to have moved or breathed after his fall. Deceased was in his 28th year, and the second son of the Marquis of Downshire. A lad, who mounted the horse with the intention of taking him to the stable, was also thrown and severely injured.

We hear that Mr. Russell, of Brancepeth Castle, in the county of Durham, relinquishes, at the close of the present season, the hunting of the Sedgefield and Brancepeth country, and that his hounds and horses will be shortly brought to the hammer.

A penalty of forty shillings was lately inflicted on Sir Simon Clarke, Bart., of Oak Hill, Barnet, for cruelly ill-treating and torturing his horse, in continuing to drive him with his shoulders severely galled.

REMARKABLE TROUT.-The largest fish of the above description taken from the river Thames for some years past, was captured by a gentleman, in the middle of last month, while casting his line upon the waters at Hampton. This prodigious fish measured two feet six inches in length, and weighed thirteen pounds two ounces. The class of fly with which he was hooked was that denominated by anglers the "Red Palmer." Had the fish been in full season, it is considered he would have reached the enormous weight of fifteen pounds.

It appears some of the Oxford fast 'uns have been going rather too fast lately; the dons having found it necessary to issue a brace of coaveto notices, one on the subject of dining and supping at inns and the houses of confectioners, and the other on the damage done to the farmers by drag-hunting. We trust this will have due effect, and that henceforth we shall hear of few who have not been able to cut down their visits to the "Mitre" or "Maidenhead" to something like moderation. As regards the drag-hunting, "reform that altogether;"

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