This was a strange year:—in more than one respect important to the future of foreign Opera in England, however ruinous to the manager who adventured an amount of experiment so large as is shown in its table of contents. Not one in the list of Italian operas, old or modern, contented the public.—“L'Esule di Roma” made a certain mark in favour of Donizetti, because of a terzetto, which was found new; but the other novelties from the south fell dead in the hour of their appearance.—Spontini's grand French opera, “La Vestale,” has never been suffered to exist in England, never having been here prepared with care enough to harmonize the barrenness of certain portions of the composer's setting of M. Jouy's drama with the musical grandeur of his strong scenes.

No Italian prima donna of first-class appeared. Giuditta Grisi failed to enchant her public: a singer, however meritorious, with a harsh, limited voice, though with real dramatic intentions. Mde. Rosa Mariani, a contralto, who worked out her career on some five notes with great skill and small natural capability, came and went, and made no sign.

The leading woman of the Italian season, at its commencement, was a French lady, Madame de Meric; and later, the delicious artist born, Mademoiselle Cinthie Montalant, who sang in Italian opera as Mademoiselle Cinti, afterwards as Madame Cinti-Damoreau.