The strength of this season lay in the ballet—or. rather, in a single dance, executed by Mdes. Taglioni, Garlotta Grisi, Cento, and Grahn.—Perhaps the fascination of the “twinkling feet” of these four ladies, grouped as Chalon has put on record, was devised to withdraw attention from the inattention to the interests of Opera, and from the gradual substitution of inferior for superior singers, which was obviously the system of management.

The only novelty in Opera attempted during the year 1845 was the “Ernani” of Signor Verdi—by this time become an Italian celebrity who was no longer to be overlooked.—The first work of his introduced here, shared the fate of Bellini's and Donizetti's first works in England. It was received with curiosity rather than sympathy. To myself, it gave hopes which have not been justified by its writer's subsequent operas, more popular though they have been. His style, for a moment, struck the ear by a certain rude force and grandeur. How vulgar these have seemed to us, owing to reiteration, will be presently dwelt on.

“Ernani” was spiritedly performed.—The heroine, Madame Rita Borio, was, in every sense of the word, a stout singer, with a robust voice—a lady not in the least afraid of the violent use to which the latest Italian maestro forces his heroines, but able to scream in time, and to shout with breath enough to carry through the most animated and vehement movement of those devised by him. Owing to want of personal attraction, this lady, who proved herself estimable in other music, did not enjoy a success in London such as singers far inferior to herself have since commanded.