At the Covent Garden Opera, Mademoiselle Angri appeared on Tuee-
ley Rosina in the Barbiere di Siviglia. The musk of this part is quite slued to her voice, which is properly a mezzo-soprano, extending into the regions of the soprano and the contralto. She is thus able to sing the part as ie is written, without the transpositions and alterations which Grid, persiani, and others, are obliged to adopt. Attired now in her woman's weeds, she presented a magnificent specimen of female beauty—a tall and Lady developed form and features of great animation and expression. twt there was something masculine in her appearance, and a boldness in her whole deportment somewhat at variance with our idea. of the character. She made Rosins a thoroughpaced intrigante, exceedingly arch, lively, and amusing, but certainly not at all interesting. Her vocal execution was of the most brilliant kind, but she absolutely buried some of the airs under a load of ornament. Had Rossini heard the "Una voce poco fa," he would have exclaimed, as when he heard Veluti, "Non pia conosco la mia mu- sics."
Miss Catherine Hayes appeared on Thursday in the character of Lucia. Her performance was remarkable for vocal rather than for dramatic excel- lence. Miss Hayes is more the conventional Lucia of the Italian atagathan (like Jenny Lind) the Lucy Ashton of Scott; and her whole performance was akin to that of Persiani, whom she resembled in the thin but pure quality of her voice in its flexibility, and in the facility and grace of her embellishments. As an actress she is well qualified to express soft and tender feelings; luit her powers are inadequate to the delineation of strong and tragic passion.
Mario disappointed his admirers in Edgard,o. He appeared to be indis- posed, or labouring under some dispiriting influence.; for his voice was husky, unequal, and even occasionally out of tune, and his whole manner lacked vigour and energy.
Lucia di LaMmermoor was followed by the Barbiere di Siviglia, com- pressed, said the bills, into one act; the "compression" being, the per- formance of the whole of the first act, without a line of the second!
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