THEATRES AND MUSIC.
At Mr. Mitchell's Opera Comique, the pieces with which the theatre opened on Monday sennight were repeated during the week, and also on Wednesday. last. Le Domino Noir is an opera which will bear many re- presentations. The entertainments of last Monday were less attractive. They consisted of three one-act pieces, all of them slight, and only one of them was regarded by the management as important enough to employ the strength of the company. This was Le Bottle et le Tailkttr, by Gaveaux, 4 popular composer for the Opera Comique some fifty years ago. It is a pleasant trifle, founded on the well-known anecdote of Farinelli and the enthusiastic tailor who refused any other payment for a rich suit of clothes than a song from the illustrious music°. The music is little more than a pasticcio, in which several of the fashionable Italian airs of that day are introduced. They were admirably sung—some seriously, and some bur- lesqued—by Couderc as the Italian master, Mademoiselle Charton as his Pupil the tailor's daughter, and Baguet as the tailor; and there were some amusing scenes capitally acted by these performers. This piece was much applauded—not so the others. The one, Le Nouveau Seigneur du Village, by Boieldieu, is a mere farce, on which that composer has not thought it necessary to expend much inventive power. The other, Le Polichinelle, !as found very stupid and tedious. The only thing which a little en- livened its dulness was a clever imitation of Punch, by Coudere. It pro- duced some laughter; though, after all, it could have been done quite as well by many of the ragamuffins who perambulate the streets with their 2110w-boxes on their backs—artists with whom it was below M. Couderc's dignity to enter the lists. Neither of these pieces received the slightest mark of approbation, and probably will not be repeated. Are we too exi- rant in grudging the loss of one of the few nights appropriated by Mr. Ilitchell to his Opera Comique, thrown away on such entertainments as those of Monday ? Last evening, however, was more satisfactorily employed. After a plea- sant trifle called Les Deux Voleurs, one of Auber's best works, L'Ambassa- drice, was produced with a completeness of ensemble and effect worthy of its "native element," the Theatre Feydeau itself. Mademoiselle Charton played the part of the young opera-singer transformed for the time into a grande dame—a dutehess and an ambassadress—with delightful spirit and archness mingled with fine touches of feeling, and sang the excessively difficult music with more vocal power and brilliancy of execution than she had previously displayed. The part of Benedict was performed by M. Bonnamy, a tenor, who appeared for the first time. He was respectable but nothing more; and it was strange that the character was not assigned to Conderc, for whom it was originally written. Baguet as Fortunatlid, the Italian impresario, and Mademoiselle Guichard as Charlotte, left no- thing to be desired. The mise en scene was perfect, and the concerted mu- sic and orchestral accompaniments were admirably executed. The audience were loud and unanimous in applause.
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