There was no novelty this year of much importance, either among the works performed or those who performed them. “Beatrice di Tenda” is one of Bellini's feeble operas, which will never sustain itself in this country. “Norma” set itself in its place, once for all. Madame Pasta's Adalgisa (for such had been Mademoiselle Grisi) had not drawn so near that wondrous actress without having imbibed some of her deep and true dramatic spirit. She was then, too, in all the splendour of her beauty of voice and person, and mounted the throne of her predecessor with so firm a step, that the world of the moment might be well beguiled into doubting which of the two was the greater Queen.

Mademoiselle Assandri, by whom she was seconded, was promising, graceful, and fresh, as a “second woman,” in no common degree. The duetts of the two (and in “Norma” the duetts are as important as in “Semiramide”) were delicious, in the charm which they exercised, not merely over ear, but over eye also. Mademoiselle Assandri, however, was merely a passing artist. Her engaging promise was borne out by no after fulfilment. She disappeared early from the stage, without reason given. Still, as Adalgisa, there was something about her tender, in tone of voice, in look, and in feeling, such as no study can produce—which suited the character admirably. She sang carefully and with expression, and vanished too soon.