tain his exclusive right to it, so long as he has life and health. We lament to see his right encroached upon, no matter by whom, and trust that, during his absence, there will be no future revival of La Somnambula, to the effect of which Rubini is as indispensable as Persiani. Donizetti's Il Furioso would have been a much more desirable work for the first appearance of Persiani, as Coletti would have been included in the cast; and Ricciardi would have appeared in a part requiring less exertion, and presenting no opportunities of entering into so close a comparison between himself and Rubini. Persiani, as Eleanora, would have been supported by Ricciardi as Fernando, by Coletti as Cardenio, F. Lablache as Kaidama, and A. Giubilei as Bartolomeo. Though we deprecate the revival of La Somnambula without Rubini, as strongly as we look forward to it with Rubini, we cannot take leave of it without a special notice of F. Lablache, whose highly spirited performance, as Il Conte Rodolfo, merits the warmest applause; so much so, that we are justified in expressing a hope. that the trio of Persiani, Rubini, and F. Lablache in La Somnambula, will be a perpetual attraction in every season. On Tuesday, April the 7th, the sublimest of Bellini's conceptions, Norma, was revived. Sublimity is not the prevailing feature of the great mass of the compositions of Bellini. Norma is a striking exception. The character of Oroveso was admirably chosen to introduce the mightiest of the many great tragedians which Italy, the greatest of all countries in musical eminence, has sent forth to render its lyric stage illustrious. The part of Pollione was, for the first time, sustained by Ricciardi, and in a manner calculated to confirm our hopes and remove our doubts of his ultimate success. His acting was energetic, and his vocal organ seemed improved in strength. In conception of the character he is not inferior to Mario, and infinitely superior to all others who have ventured on this arduous character in this country. A slight accession of physical strength would do wonders. It would raise him above Donzelli in this character. We may be too sanguine in our hopes, but we cannot be blamed for distinctly pointing out the brilliant career which may thus be open for him. On this occasion, a new prima donna,

Emmelina Tosi, appeared for the first time as Norma She is a contralta, and, as such, produces effects which Grisi, a high soprana, does not attempt. Comparisons between the new debutante and Grisi are to be avoided, for there is much to be said on both sides. Grisi may be more uniformly perfect, but there is a depth of feeling in Emmelina Tosi in this character which Grisi can scarcely be said to display. A vast field is open to her exertions, which we earnestly recommend her to enter upon, not in opposition to, but in union with Grisi. M. Laporte has promised us, among the novelties of the season, Mercadante's celebrated tragic opera, Il Giuramento, in which Grisi is to sustain the part of Elaisa, originally sustained at Milan by the Russian prima donna, Sofia Schoberlechner. The part of Bianca (written for Brambilla) will find in Emmelina Tosi a representative that can do justice to the second heroine of Il Giuramento. But we must regard Emmelina Tosi not only as a highly conspicuous member of the cast of Il Giuramento, but as a valuable acquisition in operas of long established celebrity. We may now look on her as Arsace in Semiramide, as Sesto in La Clemenza di Tito, in both operas in union with Grisi, as Semiramide in the former, as Vitellia in the latter. We may also congratulate M. Laporte on having engaged one, whose Maffio Orsini will be worthy of the Lucrezia Borgia of Grisi. We trust that the importance of the most powerful combinations of the existing company being effected, will not be lost sight of. The question of changes in the company is one for next year, and not this. Not so the union of talent in the present company, which has unquestionably the elements of strength which only require to be developed in united action.

The ballet goes on prosperously. To that splendid tragic ballet, The Gipsy, has succeeded a very agreeable comic ballet, La Tarentule. The music is well composed and selected. The selection from the third act of Robert le Diable especially demands notice, as being in the best possible taste, and highly appropriate. Of Fanny Elsler it is needless to say any thing, except in confirmation of the elevated position which public opinion has most justly assigned to her, both as an

actress and a dancer. Her departure for America is a subject for regret. We shall welcome her return with enthusiasm-her return too, not alone, but in company. with her sister, the Gipsy Queen of 1839, and we trust the Gipsy Queen of 1841.

Fanny Elsler's benefit took place on Thursday, the 9th of April. On this occasion Lucia di Lammermoor was revived. Madame Persiani, Rubini, Coletti, and Morelli sustained the four principal characters. Of the three former we must speak in terms of admiration; of the latter we may remark, that the sooner he abandons the part of Raimondo to F. Lablache, the better it will be for the general effect of this splendid work, as well as for the particular effect of the individual character, to sustain which, a first-rate, not a second-rate artist is altogether indispensable. Persiani and Rubini are well known in their respective characters, but Coletti appearing for the first time in the character of Enrico, requires more lengthened notice.

On this occasion, for the first time, has the character of Enrico been sustained in an energetic and inartificial manner. To many it may appear surprising that we should enter into a comparison like the present, unfavourable as it is to an artist of such long established reputation as Tamburini, who sustained the part in 1838 and 1839, but for whom the part was not written. But names are empty things, though to many, and more particularly to the fashionable world, they seem every thing. We confess that we are not among the number of those indiscriminate and extravagant supporters of Tamburini, who are principally remarkable for their admiration of his defects. On the contrary, though we regard Tamburini as a most highly-gifted person, as one whose versatility of talent is immense, we regard him also as one in whom so much alloy is mixed up with excellence, that we unhesitatingly proclaim our unmixed satisfaction at the substitution of another primo basso. In certain comic characters we are as loud in our admiration of Tamburini as his partisans are, but we cannot admit that his Enrico, in Lucia di Lammermoor, is a model for imitation.

We must extend our strictures also to his performance of Iago in Otello, to his Duke Alfonso in Lucrezia

Borgia, and, indeed, to very near the whole range of tragic characters in which he has appeared in England. A florid style may become vicious. It often does so in Tamburini. It often becomes rank luxuriance. The finest compositions are much i njured by the use of indiscriminate and overlaid ornament. Confusion is hereby created, and in the triumphant display of extraordinary execution, the ground-work is lost sight of, and becomes too much like a fine air with indifferent variations. We totally disavow that we are actuated by any spirit of hostility to Tamburini; on the contrary, it is because we are ardent admirers of every thing that is really excellent in him, that we are anxious that he should get rid of these defects before they become so inveterate, that the sparkling and brilliant comedian, and highly meritorious tragedian, becomes so completely immersed in them, as to sink into a piece of ornamental mechanism-an automaton without life and feeling, which consummation no one would lament more deeply than ourselves.

Lucia di Lammermoor was repeated on Saturday, the 11th of April, the last day of the short-lived winter season, and, until this year, the last day of " the winter of our discontent." There have been occasional variations from the system expressed in this quotation from Shakspeare, this application of Shakspeare's words; but if the rule, the prevailing practice of former seasons is referred to, it will be found that the exceptions have been too trifling to warrant any contradiction of what has been asserted. The winter season (for that expression no longer requires explanation) of 1840, is to us, "the light of other days." We do not mean the light of days gone by, but the light of days yet to come. We look to it as the prelude of a "glorious summer." We will conclude our notice of the performance of Lucia di Lammermoor, by requesting that next time that Lucia di Lammermoor is repeated, it shall be the whole of Lucia di Lammermoor, and nothing less. We will refer in particular to the third act, and the opening scene of that act. Rubini and Coletti can understand our meaning, which is, that we cannot dispense with their exertions in material so worthy of such eminent artists.

We look back to the first representation of Lucia di

Lammermoor in this country as the commencement of a progressive movement in the national taste. Regarding Lucia di Lammermoor as a work well calculated, from its intrinsic merit, as well as other causes, to undermine "the rotten fabric of antiquity," we deprecate every omission, however trifling, and look upon such omission as so much spoliation. We may be denounced as sacrilegious in proclaiming ourselves foremost in the work of demolition. But we wage not war against Mozart. We are contented, on the contrary, with proclaiming our hostility to exclusiveness. We care not for a name. We are ardent and enthusiastic admirers of Mozart. We also pay a most willing tribute to Rossini; but as we are admirers only of Rossini's greater works, such as Otelio and Guillaume Tell, and do not disguise our avowed contempt of certain compositions, which nothing but Rossini's name could have preserved from immediate ruin, it is our boast that we can class ourselves among the number of those who are not only admirers of the eminent composers of former times, but supporters also of merit in our own times, and encouragers of rising merit that may attain maturity in after times. We shall unhesitatingly proclaim our opposition to every thing which has a tendency to clog the machinery of the progressive movement. We recommend the opponents of all change, the patrons of inactivity, to remember that the movement, if not sufficiently rapid to satisfy its friends, is too much so to be resisted by its enemies. Of the latter we will not judge harshly; and while we aim at their conversion, we will conclude our present notice of the Italian Opera with wishing them a full enjoyment of every thing that is really excellent in that school of music of which they profess unbounded and exclusive veneration.

The spring season, the full season, or the fashionable season, or whatever else it may be styled, did not open until Thursday, the 23d of April. Lucia di Lammermoor was again represented, followed by the overture to Guillaume Tell; and the ballet Les Pages du Duc de Vendome. Two new dancers appeared for the first time on this occasion, Mademoiselle Albertine and M. Bretin. The latter is as well known at Milan as he is at Paris, although the official notice mentions