THE THEATRES.

THE opening of the Italian Operahouse has attracted larger audiences than we have been accustomed to see there at this early period of the season ; and though circumstances had obliged the Manager to alter his original plan, and select for his first opera, on Saturday, a work em- ployed on similar duty last year, Adelia was repeated on Tuesday to a crowded house. There is little to chronicle concerning this performance. On his second appearance, the new tenor, CORELLI, made a manifest ad- vance in public favour, and sang some things which might be pro- nounced charming. How far he may continue to improve, under due encouragement, cannot be predicted with certainty ; but we may safely estimate-him as an unasually good second tenor-likely to be very ser- viceable in that capacity, and capable of sustaining first parts upon occa- sion. It is a pity that the detention of FORNASARI in Paris prevented Zampa from being the opening opera, as at first advertised. Spirited music and interesting situations divert the attention from the individual merits of singers : when a piece is good, criticism is directed to more interesting objects than the compass or quality of a voice, or the deco- rative ability with which a part is filled out. But in an opera of the commonplace and conventional character of Adelia, the position of the principal singers is difficult and thankless : the whole interest con- centres in them : fatigued and half torpid, the audience are in suspense, watching for the relief of some exciting passages from the prima donna and first tenor ; and no sooner has expectation been grati- fied by their exertions, than the composer, by some monstrous act of dulness, some tedious reminiscence or threadbare convention, destroys the effect they have created, and restores the reign of commonplace. The exquisite talent displayed at intervals by PERSIANI in this opera might be compared to rolling the stone in Tartarus. It extorted ap- plause ; and could the animation of the hearers have been sustained, the result would have been brilliant : but the next air or chorus was less fortunate, and as much as she had raised us we sank under the leaden influence of the Maestro. Never were composer and singers in such an unhappy state of opposition. Had Dontzurn not exhibited more curious felicity in some of his works than exists in Adelia, he might well have borne the entire weight of censure so sweepingly heaped upon him. His offhand style, which sparkles for a few nights in Italian theatres- where a new title, new scenes, dresses, and decorations, go far-it is plain will not do here. We Northern barbarians require a more di- gested plan-a better libretto-music fuller of impulse and contrivance, such as we recognized in parts of La Favorite, and expect to find in Maria di Bohan. Contact with the higher artists of Paris has stimu- lated the ambition of Doarzerrr, and we willingly overlook the sins of his youth to recognize in several of his later productions the signs of the improveable and improving man. The musical prospect of the season seems very favourable. The decline of opera on our native stage, from the want of artists capable of duly supporting it, has left the Italians masters of the field ; and the public now, more fully convinced of the real superiority of their vocal and histrionic powers, show a greater inclination to patronize them than ever they did. However doubtful musical speculations in other quar- ters, the Operahouse is sure of being filled. This growing inclination for the Italian opera may be perhaps traced to the industry of the late M. LAPORTE-followed up rather than relaxed by Mr. LUMLEY- in collecting for his theatre the first talent of Europe. Amateurs may now and then complain of the expense of the entertainment ; yet they are convinced that it is about the best which money can procure. In the main, therefore, they are content. Meanwhile, a higher standard

of the vocal and dramatic art has been raised, and a juster appreciation of its true excellence diffused, than we have ever yet known. The

magnificent and varied powers of LABLACRE, the brilliancy and ele- gance of Gaisi, and the pathos and tenderness of Runnu, together with the conspicuous excellencies of others, have all been appreciated and

admired. But the mass of the opera-going public have yet one act of

justice to do, and it relates to PERSIANI. It is true her voice is light, and somewhat thin ; but how delicate, how agile, how finely in tune! The wonders she accomplishes in arpeggios and floriture, commencing

on the highest notes of the treble scale, without the least distortion or effort-the facility with which she invents these passages, and the grace she exhibits in their application-should command unanimous recog-

nition, instead of that of the scattered cognoscenti. We have heard as brilliant passages from SONTAG and GRIST-but nothing so wondrously delicate and extraordinary as her management of high notes ; which become the softer and more pleasing the higher they go. To all her other pleasing peculiarities she joins so much of the finished musician and genuine artist, as should render indifference to her a strong imputa- tion on the taste. Her admirers will doubtless increase when Adelia is supplanted by some better composition.

There was a new ballet to grace the opening. La Esmeralda is a clever adaptation, by M. PERROT, of a few points in VICTOR Huco's Notre Dame de Paris, most available for pantomimic representation.

The amour of Esmeralda and Phoebus, the jealousy of the priest Claude Frollo, and the fondness of the poor poet Pierre Gringuire, are the leading incidents ; the riotous merriment of the Bohemians and the splendid festivities in the garden of Fleur de Lys forming picturesque and effective tableaux. The action is intelligible and continuous ; the scenic displays and choregraphic feats arising naturally out of the situations : but the dancing in the floral fete is prolonged so as not only to impede the progress of the action, but to weary the patience of the audience. We notice this so early in the season, because it is a beset-

ting fault of all ballets to stop the story mid-way while the dancers perform tours de force having no relation to the business of the scene,

repeating the same or similar feats till themselves and the audience are tired. It is just as absurd as if an opera were to be interrupted in order that three or four vocalists, not in the cast, should have an opportunity of displaying their proficiency in ascending the chromatic scale or giving a succession of shakes.

CARLOTTA GRIST personates Esmeralda in a very agreeable manner: the charm of her performance is her artless-seeming simplicity and

gayety. Her movements are easy and unaffectedly graceful; and her pantomime, though deficient in delicacy, variety, and significance, is not altogether inexpressive. The bounding steps with which she tra- verses the scene in her joyous moods are indicative of vivacious im-

pulse : her countenance is most attractive when drest in smiles. PER- ittpea personation of the hapless poet, who is saved from hanging by

Esmeralda marrying him, is an exquisite piece of serio-comic panto- mime : the quaint simplicity and quiet earnestness which he throws into the character render it at once ludicrous and touching. The distinguishing feature of the dancing is the " Pas Truandaise" with

Csau.orre. GRIST; in which Esmeralda coquettes with her bewildered bridegroom, who, fascinated by her charms, follows her fleet footsteps

with awkward alacrity, and a look of delighted amazement at his un-

wonted agility : the odd mixture of the grotesque and graceful in PERROT'S performance has a droll and novel effect. The aspect and gesticulation of M. GOSSELIN express the character and passion of the malignant priest significantly enough ; and CouLon gives a picturesque sketch of the Hunchback Quasimodo. M. ST. LEON, the representative of Phccbus, is more remarkable for his astonishing leaps and pirouettes than his pantomimic powers. A new danseuse, Mademoiselle ADE- LAIDE FRASSI, made her debut as Fleur de Lys; and gives promise of excellence in the style of FANNY ELL8LER, whose famous tiptoe step she essayed, not unsuccessfully : the person of the debutante is well proportioned, and her face expressive ; and she made a favourable im- pression, though as yet her powers are scarcely tested.

The opening tableau is extremely picturesque and animated: the street-architecture of the old city of Paris, with gabled roofs and Gothic spires standing out against a bright evening sky, forms a beautiful back- ground to the stirring groups of Bohemians. The scene of the floral fete is richly ornate and fanciful, and makes an agreeable variety.

The music, composed by Signor PUCE', is very superior to the ordi- nary strains of the ballet ; being not only " lively, audible, and full of

vent," but various and characteristic : it is not merely serviceable to time the dances and grace the action, but it is an expressive and beauti- ful accompaniment to the sentiment of the scene.