It may be here said, that the virtual abandonment of the ballet at Covent Garden, except as an accessory to grand Opera, or merely as filling half an hour in an evening's performance, makes further record of dances and divertissements unnecessary.—Interest in dancing seems for the present to have died out in London.—In fact, wherever a strong and wholesome taste for dramatic music increases;—the other entertainment must hold a secondary place,—unless some new Genius should appear, like Mdlle. Taglioni, to delight us with her modest and poetical grace,—or like Mdlle. Fanny Elssler, by her union of brilliant execution and admirable pantomime.

The foregoing list of operas will show an increase of the tendency towards works of the German school. In its second season, however, the Italianized version of “Der Freischütz” proved unattractive, in spite of the appearance of Signor Tamberlik in the tenor part.—Nor could the same artist's excellent singing as Florestan overcome the apathy of the public to the version of “Fidelio,” performed in Covent Garden for the first time.—The audience encored one of the magnificent four “Leonora” overtures prefixed to the second act; but the performance, as a whole, was, somehow, not right—not German;—careful, but languid.—Madame Castellan did her utmost to be womanly; but she was neither sufficiently intense nor touching as Leonora, and the music tore her voice—an organ which had never been altogether regulated.