THE THEATRES.
TIM Brussels Opera Company are attracting the general public to Covent Garden, by their lively, excellent, and varied performances. La Favorite of .Donizetti was given on Monday, and Les Diamans de in Couronne of Auber on Wednesday. It was the first performance of Auber's opera in En,gland, in its original and complete form; and the true character of this sprightly but melodramatic musical comedy was effectively brought out. Mada.me Laborde is not so fascinating a representative of La Catarina as Madame Thillon, nor is her vocalization so brilliant; but her execution is adequate to the demands of the music, and her performance is altogether very agreeable. It is the completeness and vivacity of the ensemble, how- ever, that constitute the great charm of this representation; and the ad- mirable acting of Monsieur Coudere, in his original part of Don Henrigue, the lover of Catarina, materially contributed to the dramatic effect. He has comparatively little to do, though he is almost constantly on the scene; but the importance of the character, and its influence on the action of the piece, are made evident by this accomplished artist: the quiet significance of his by-play supplies a running commentary on the incidents and heightens the interest and mystery that surround Catarina. M. COudere is a clever vocalist as well as a first-rate comedian; and his singing is as easy and spontaneous as his acting. On the company's first night at Covent Garden, he appeared as the rustic lover in the operetta of Le Chalet; and drew three rounds of applause by his ludicrously natural simulation of alarm at the threats of his rival, a blustering sergeant: he literally " shook in his shoes "; every limb trembled, while his countenance ex- pressed the panic fear that possessed him. The performances at the St. James's Theatre also have assumed a more musical character since M. Achard has appeared at the French Plays; though his popularity as a low comedian has almost eclipsed his reputation as a vocalist. Achard's engagement has nigh terminated, before opportunity served to notice his performances. However, they have been chiefly repetitions of those of last season; the only novelty in his repertoire being a pretty little piece—with a wholesome moral, strange to say—called Babiole et Toblot. Joblot is a workman, who saves the life of a lady of rank. Mistaking her gratitude for love, he aspires to her hand, and neg- lects his fallful Babble: his vanity is punished by the lady ridiculing his pretensions; and, repenting of his folly, he makes atonement to the pretty Babiole. The piece is very nicely acted; though the conceit and com- placency of Johlot are better expressed by Achard than his tenderness, which is not so genuine. Achard is most at home in Parisian badauds and knowing rustics: the vulgar, confident manner, and rude boisterous gayety of low-bred persons, he assumes with great gusto; but, for want of bon- hommie, it tires with repetition. Yet he is an amusing actor, and his style has mellowed since last year: his beautiful voice is an always agreeable characteristic.
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