The premature cloein e r of the Prince's Theatre, and the brief
career of the late management, cell for a few words of comment. It has not unfrequently happened to us, after having given honest, and as time has proved, prudent counsel with reference to the conduct of certain musical undertakings, to have received any thing but thanks for our pains, while the dangerous because undeserved praises of contempo- rary critics have been welcomed as evidences of friendship. " But," said BEN JONSON, " teen would never thus be taken in the springes of others' flattery, if they did but remember how much more profitable the bitterness of truth were, than all the honey distilled front a flattering tongue, which is not praise, but poison." This sort of poison was abundantly administered to BALI:iLIT'S first act of management. There are certain persons who seem to think that if, by what- ever means, they cau get whet is called "the press" on their side, any folly or puerility may obtain sieeulatiost and success—and perhapCthey have, in general, too mach reuseu ;'or such an opinion. The public are often content to be spared the labour of thinking for themselves; but cases occur in which they resume and assert the right of private judg- ment, despite the brethren of the brow' sheet. Such was the case with Romim's opera, which wits (thoueh not universally) hailed as an evidence of "'wave talent," and a most auspicious commencement of the new manager's career. Our opinion is on record, not only of the opera, but of its effect on the interests of the theatre, and on the success of BALINETT'S experiment. The." poison" of the press was too power- ful for the antidote we resommended—Feelolin wais played up to last Friday night to empty benches, and on Settirday the theatre closed. We regret so inauspicious a result of an endeavour to revive the English Opera; we regret also that Bet:sew should have purchased experience so dearly. Let !attire enterprisees, it' such be fbund, profit by it The success of the el/win/din Sy/ph :eel the failure of Fridolin are snflicient evidence that sonic quantum of public discrimination yet re- mains. The result of this experinwet serves to show that the prime quality to be regarded in the proluetio:1 of any work of this kind, new or old, is intrinsic excellence. For the want of this nothing will and nothing ought to compel's:de. Singers are too apt to regard them- selves as the sole arbiter, of the dt :t.itte. of :111 opera. " With our power- ful talent it must succeed," is their cantmon language—perhaps their opinion. Tie e are mistaken. 1111,,; nt and l'ini.mee, in Fridolin, did not draw the tithe of is ROW'S salary. They must learn their proper
Position tied ti.cir true value. it -v t,ro worth much, but not all ; and their imeress apon a piece of lte,e ire. rr.a Mill pass it for sterling coin. no longer own ee the first eildine gene ins. Aterthe first night this was rubbed ell', and the counterfeit et esed to circulate.
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