Music.

music ;

A steady stream of popularity continues to flow towards the Opera House , and the visits of the people have , since our last notice , been corroborated by the presence of the Sovereign . Mdlle . Wagner , in "Montecchi e Capuleti ' ; " Mdlle . Piccolomini , in the " Traviata , " and "La Eiglia del Reggimento , " and Madame Alboni , in the CenereKtola , " have alternated their attractions with the production for a single night of " Lucrezia Borgia . " This character was sustained by the first-named lady with somewhat equivocal success , a result produced

doubt-HER MAJESTY'S THEATRE

less by the contrast it presents to the splendid enunciation by her of Romeo , which was in every sense of the word a perfect triumph . As to Mdlle . Wagner ' s representation of Tancredi , there is no doubt that with superior supporters she would have achieved more satisfactory results but her coadjutors were unequal to the parts assigned , and perhaps we must also concur with the now almost universal impression , that her style of singing concurs not with the finished delicacy of the Italian school , so pre-eminently portrayed by Rossini , in the opera of "

Tancredi . Her voice is of a strong character , and a most extensive compass , and she revels in powerful and sudden contrasts , so that some of the fine touches are overlaid , and we miss the elegance of Malibran and Grisi . Still we must remember , that such singing , although inapt for feminine is yet admirably suited to masculine characters ; so that with a few and trifling exceptions we receive it with acquiescence , if not with applause . Moreover , we have been spoiled by Miss

Wagner s Romeo , itself an excellent rdle as developed by her . The grace and completeness of deportment Miss Wagner evinces in all her characters , places her at once as the most finished actress in operatic performances . M . Bonetti ' s conduct is sufficient to spoil any operatic music , and we cannot help admiring the witty criticism given of it in the John Bull , wherein the writer compares it to a perfect maelstrom of noise and uproar , from which , parodying Byron , he says , there rises now and then , —

" The agonizing shriek , the struggling cry Of some strong singer , in his agony . " We thought the hot weather would have stayed the vehemence of the conductor , but no ! each act , nay , almost every scene of { C Tancredi , " the other night , in a suffocating house , witnessed the utter extinction of beauty and softness in a surge of strife where the uplifted arm of the perspiring conductor worked like a piston . In addition to the attraction of the singers , the new ballet of the " Corsaire" has been produced with a degree of splendour which recalls the choregraphie triumphs

of former years displayed upon the same boards . The story of this spectacle , which has little or nothing in common with Byron ' s poem , is delineated in three acts , and is much the sarae as the French edition , already familiar to most Parisian visitors . The ethereal movement and graceful gesture of Madame Rosati depict " the very poetry of her art ; " and she is ably supported by the effective troupe of dancers now at Mr . Lumiey ' s disposal . The shipwreck-scene is equal to the famous one at the Lyceum , some short time since , and the introduction of the dancing on the deck as effective as it is novel .

ROYAL ITALIAN OPERA . Madame Ristori ' s repertoire has been one continued series of successes . Night after night the "beautiful little Opera-house in the Strand has been filled to overflowing , and even now that she has made her last appearance ( for the present only , we hope ) , groups of disappointed play-goers complain that they have had no opportunity of judging of the merits they hear so universally acknowledged . The intermediate nights have been devoted to the production of Madame Grisi ' s favourite parts , "Norma , " "I Pnritani / ' " Lucrezia , Borgia , " with Madame Bosio , in " II Barbicro / " " Riggoletto ; " and last , though not least , the " Tmva-