PARISIAN THEATRICALS.
Although scarcely a year has elapsed since the production of r Eloile do Nord, the composition of an opera is a slow work, and therefore M. Scribe has had plenty of time to change his feelings with respect to Russia, since he first planned the libretto of that celebrated opera. The change is manifest in his new drama of _La Czarine, which is now the theatrical "lion" of Paris; and in which Peter and Catherine, instead of being a pair of interesting lovers, are a very improper married couple. Catherine falls in love with a Polish Count, and nearly loses her head in consequence; being only saved by the abrupt decease of Peter, who drops down dead just as he is about to sign her death-warrant. As the Empress is a pro- digy of passion and audacity, she affords a strong part for Made- moiselle Rachel, who is again in the ascendant at the Thefitre Francais; but nevertheless strong doubts are expressed whether this new drama is one of M. Scribe's great successes. Time will show, but, mean- while, we may observe that it is played four times a week at the Fran- cais; and that it is shortly to be travestied at the VariOtes. .Der Yrieschiitz is not so familar to the French as to the English, and its revival at the Theatre Lyrique is regarded as a sort of novelty. The old version' originally produced at the Odeon thirty years ago, with the title Robin des Bois, is the one now played at the Operahouse of the Boulevard.
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