Paris is now in the height of its artistic season,
and events of no ordi- nary interest occupy the minds of the lyrical and musical world. The secession of Mademoiselle Artot from the Imperial Opera has been fol- lowed by that of Madame Borghi-Mamo ; the place of the latter to be supplied by the accession of Madame Didier, from the Italian Opera. The defalcation of Madame Dither from Gye's troupe will be much re- gretted; not less so that of Graziani, announced to appear at Drury Lane, in Smith's Italian opera company. Mademoiselle Titjen, also included in the latter troupe, is stated to be under articles to Lumley for a period not yet expired. Amidst all these changes and rivalries it is to be hoped that good faith will be kept towards the British public, whose good nature is too often abused by managers and tricksters.
Farewell seasons, concerts, and provincial tours, have of late years greatly imposed upon the credulity of the English, by artists not unwil- ling to repeat the trick, if the press lend its aid, to invoke public sympa- thy. The French, to do them justice, are not niggard in their homage to a time-honoured veteran of the muse ; but the charlatanism of traffickers in these farewells would be scouted in the French capital. The forthcoming opera by Meyerbeer will give new life to the languor that has beset the Opera Comique of late, with its stale repertoire rechauffe. Vieuxtemps is the lion violinist this season at Paris, who has excited the greatest enthusiasm, and Lubeck, the classical pianist, has no superior. The choral demonstration of seven or eight thousand singers, to take place next month,—a novelty to the Parisians,—will attract a large audience. The programme is varied, of sacred and secular pieces.