Though the list of operas performed in 1833 be long, the performances fell short of giving entire satisfaction. Of the novelties by Bellini introduced, only one was relished—for the critics of the hour flouted “Norma” as a poor work. Nor till a year or two later did that opera take its place among the stock-favourites of England. None of the new singers became popular.—The German company was made up of mediocrities—the men not being worth naming: the sensation of 1832 was, accordingly, not repeated.—The glory of Madame Pasta already showed signs of waning : she steadily began her evening's task half a tone too flat. Her acting, was more powerful and striking than ever—if that could be. This, however, was her last season, of being the presiding divinity of the opera. She only sang here on an engagement, once again, after an interval of some years; with regard to which appearance I shall speak in detail.—This, too, was the season of Malibran's few last Italian performances in England. She had astounded rather than edified our fastidious dilettanti, by singing in English at Drury Lane; and thenceforth, a sort of pique grew up between our despotic aristocracy, and the wayward Spanish prima donna,—and “Semiramide” was sung for the last time by herself, Madame Pasta, and Signor Tamburini, then in his prime—to an empty theatre.

Such life and excitement, as were to be found in the Opera House in 1833, belonged to a world more attractive to many of its frequenters than the world of music—that of ballet.