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THE return of Mrs. BILLINGTON may justly rank as an epoch

in our musical drama. After an absence of seven years, almost constantly employed in the improvement of her powers of voice, and the cultivation of the taste and science of the Italian school, this fascinating singer appeared on the 3d instant, in the character of Mandane.

If the opera of Artaxerxes does not afford natural interest or affecting incidents, the choice of it evinced, however, her judgment with respect to its musical merits. Dr. ARNE has combined in this production his own pure and native simplicity with the beautiful melody of HASSE, the luxuriant strains of PERGOLESE, the flowing graces of PICCINI, and the spirited cantabile of SA C

CHINI.

The airs of Mandane are peculiarly calculated to display the wonder-working powers of Mrs. BILLINGTON, and she proved herself in every respect worthy of the enthusiastic applause with which her exertions were received. In "Adieu, thou lovely youth!" the expression was admirably suited to the subject, the divisions were executed with the most skilful precision, and the introduction of the sharp second at the words "preserve thy faith and truth," was productive of the most exquisite effect.

The music of the air composed by BIANCHI, and sung for the first time in this opera by Mrs. BILLINGTON, rarely finds an access to the heart. The difficulties are too great, and succeed each other too rapidly, to excite sensibility. It answered however the purpose of displaying the uncommon elevation of her tones, and her rare perfection of science.

"O'er the cruel tyrant love" was given in a style of feeling and expression that rendered it a chef-d'œuvre. In brilliancy of taste and sweetness of tone, it stands unrivalled. The song of "Monster, away!" is, we regret to observe, led on in too rapid a time to allow a proper articulation of the words in the passages where the syllables move by quavers. For this defect we received, however, more than an adequate compensation in the affecting softness with which she accented the notes of the delightful air, "Let not rage thy bosom firing," in her chaste embellishments and fascinating delicacy of her tones. The pathetic expression in which she conveyed the sentiment of the melody of the words "father, brother, lover, friend," is indeed the perfection of nature and art united. It is but justice to observe, that in the celebrated bravura

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bravura of "The soldier tir'd," Mrs. BILLINGTON took fewer liberties with the composition than performers of eminence have been accustomed to do; and at the same time succeeded in producing an effect superior to all expectation. The distances were preserved with the greatest clearness and the most correct precision, while the variations which she threw into the repetition of the last division, by converting the thirds into sixths, as well as the faci lity with which she touched the key-note in alt, proved the triumph of the art.

INCLEDON, HILL, TOWNSEND, and Mrs. ATKINS gave every possible support to the general effect of the opera. Mr. HILL was deservedly encored in the charming air of "In infancy our hopes and fears," which he gave in a pure and simple style, in conformity to the spirit of the composition.

MIS. BILLINGTON continued to perform Mandane at both theatres to very numerous and brilliant audiences until the 22nd, when after going through the first and second acts with her usual eclat, she was suddenly taken so ill as to be unable to conclude her performance. Her indisposition is ascertained to have been caused by a needle which worked itself into the arm. The pain was excessive, and affected her side with alarming sensations. The needle has been extracted, and her health is so much improved that a very short time will be sufficient to enable her to resume her professional duties.

A comedy entitled Integrity was performed for the first time on the 8th.

This piece is taken from the German school, and although not avowed by Mr. HOI CROFT, has, we understand, been translated and adapted to the English stage by that gentleman.

It would not be interesting to our readers to enter into a detail of the fable and incidents. The former is constructed upon a scale so very extensive as to baffie the labours of the dramatist in the execution; and the latter are too complicated to appear natural.

Upon the character of Herman-a young barrister of such inflexible integrity as to be "proof and bulwark" against the most powerful and seductive temptations that generally triumph over

frail humanity-depend the origin, progress, and completion of the interest we take in the comedy. He certainly is in these days a phenomenon; his prototype may be vainly sought for in Westminster-hall: but his sentiments claim universal esteem and admiration.

The characters approach very nearly to the imitation of real life, and the language is, with few exceptions, suited to the subject and the sentiments. What we have particularly to commend is the judgment displayed by the translator in avoiding that wretched taste by which most of the German writers of the present day have acquired popularity, in torturing with tales of dismal lamentation their audiences into false sensibility.

It must also be remarked, that a single expression does not occur which is not subservient to the interests of virtue.

Mr. SIDDONS, the eldest son of our great tragic actress, made his début in the part of Herman, which he performed with great feeling and much delicacy of discrimination. He bears a strong resemblance in articulation, countenance, and action to his mother and uncle, Mrs. SIDDONS and Mr. KEMBLE. Yet he appears to think for himself, and to be anxious of avoiding the charge of imitation.

In this opinion we have been since confirmed by his performance of Hamlet, in which he elicited new beauties, and evinced a profound knowledge of the author. In the scene with the ghost and the conference with his mother, he was peculiarly successful.

His

With the business of the stage Mr. SIDDONS is perfectly acquainted. He has, however, some defects to surmount. soliloquies want that natural concern which arises from self-examination, and he must study to divest himself of an occasional break in his voice, that grates upon the ear. The reduplication of the last syllables of words, and, above all, of those terminating in consonants, of which he is sometimes guilty, should also be carefully avoided.

There is little doubt that this gentleman will, by the assiduous cultivation of the art, arrive at its highest honours.

Mr. COR Y, late of Drury-lane theatre, appeared for the first time on these boards in the character of Dunkleman, in the comedy with Mr. SIDDONS, and gave an impressive delineation of the part.

A new musical entertainment called the Escapes was brought forward with considerable applause on the 14th. It is chiefly a translation from a petite picce represented last year at Paris with

uncommon success.

The plot derives its interest from the philanthropy of a watercarrier, exemplified in preserving the life of a virtuous magistrate from the persecution of cardinal Mazarine, the prime minister. This he effects by a series of ludicrous stratagems, from which the' entertainment takes its name, and which he executes with much pleasant ingenuity.

There

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There is little to censure in the dialogue. The music, principally from CHERUBINI, has been corrected and adapted to our stage by ATWOOD. It is of the first order. The tries and che russes are distinguished for exquisite harmony.

The popularity of the Escapes has increased with the representations. Mr. HARRIS has displayed his accustomed taste and liberality in the scenic and decorative departments.

Mr. COOK E.-We noticed in our last number the absence of this excellent actor at the opening of the theatre, and the statements which had appeared in consequence of the disappointment experienced by the public. He resumed his professional duties on the 18th, in the character of Richard the Third, and attracted one of the most fashionable and numerous audiences we have wit nessed during the season.

Before the commencement of the tragedy, he unexpectedly came forward, and was received with such loud and continued plaudits as prevented him for several minutes from addressing the house. The applause having subsided, Mr. COOKE delivered an apology for his absence nearly in the following words :

"Ladies and gentlemen, it is with much concern that I feel myself under the painful but just necessity of apologizing to you for my late absence. [Great applause.] I had no permission to remain in the country after the period at which the present season commenced, and it was certainly in my power to have appeared before you on that occasion; but there were circumstances which led me to expect that my attendance would not be required at the opening of the theatre. The letters requiring my return did not reach Manchester for some days after my departure from that place for Newcastle, and from the delay thus occasioned, it be came utterly impossible for me to have reached London by the time specified in the letter. The events that have since happened are within your recollection. I feel a deep regret at the disappointment I have involuntarily occasioned. My best exertions shall be exercised in your service; and though I fail of suc cess, I will do my utmost to deserve it."

He retired amid reiterated plaudits. His Richard, Shylock, Sir Giles Overreach, and Sir Archy Mac Sarcasm, continue as powerful in their attractions as on his first appearances in them last season.

DRURY-LANE.

With the exception of Mrs. BILLINGTON's performance, the managers of this theatre have brought forward no novelty since the commencement of the season. The depth of science and delicacy of taste displayed by Mrs. MOUNTAIN in the character of Arbaces, cannot, however, be passed over in silence. They entitle her to a rank inferior only to Mrs. BILLINGTON in the musical drama of the English stage.

MADAME

MADAME GRASSINI.

THEATRE OF THE ARTS, PARIS.

THE concert given lately at this theatre attracted a most numerous concourse of amateurs, foreigners, and of females rivalling each other in elegance and beauty; but whatever was the splendor of this brilliant meeting, assembled to hear Madame GRASSINI, it must be acknowledged that this celebrated singer was its chief ornament. Madame GRASSINI possesses a happy "ensemble," with those fascinating graces which have always with justice been almost exclusively ascribed to French ladies. The boldness of the celebrated MORICHELLI excited enthusiasm. To prolong a sweet enchantment was the happy forte of Mademoiselle BALLETTE. The peculiar talent of Madame STRINA SACHI IS flexibility enough to accommodate herself with art to different manners. To move by pathetic accents, to speak to the soul in charming the ear, to unite sentimental expression with a voice of superior beauty, and a just declamation to the most scientific method of singing in a word, to give to the art, without forgetting or overstepping its limits, all the means of expression of which it is susceptible; such is, feebly described, but ardently felt and unanimously admired, the talent of Madame GRASSINI. The voice of this singer is unfortunately almost without an example in France. Without offering any thing which does not belong to delicacy and to the flexibility of the vocal organ, her voice is fuil and sonorous; her grave tones have an admirable force and justness of expression. As to the method by which she regulates her power, the most remarkable particular is the act of sustaining the note equally, of managing the means of exact phraseology, and, above all, of preserving all the purity and force necessary up to the final point of a musical period, whatever be its length and difficulty. After hearing Madame GRASSINI in a concert, after witnessing the sentiments of admiration she inspires, one cannot but regret that she does not exhibit her talents on the stage. The airs she sings produce a great effect, though preceded by recitatives rather too long. What a sensation would they not excite upon the stage! There she could display that talent of expression which is peculiarly her own, and which we lament to see her compelled to reness or disguise in a concert. Madame GRASSINI, in scenic character, should be to Italy what Madame St. HuBERTY was to France.

RODE and FREDERICK DUVERNOY justly partake in the universal approbation. DUVERNOY might be blamed for too little variety in the "morceaux he presents us with, did he not constantly exhibit new merit and grace in their execution.

May not some observations upon the talents of RODE, as a virtuoso and a composer, be permitted here? We shall hazard them in the confidence of impartiality. Possessed of an elegant manner

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