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Michel (servant to the Marquis).

Connell.
Attrappe (a police officer)

Howell.
First Huntsman..

Hodges.
Keeper

Birt.
Notary

Sanger.
Madame Julie Corinne

Miss Romer.
Frivole (her maid)..

Mrs. Hughes.
Grisette (Jaloux's wife)...

Miss Isaacs. The plot, a stirring one, and well suited for an opera, is this. A Creole slave in St. Domingo, the son of a negress and a bondsman by purchase, is brought up as the companion and playfellow of his master's youthful daughter. This slave excels in all manly exercises ; and at a masked horse race which takes place, he has the presumption to join the competitors. He surpasses the rest, but on being offered the prize, he refuses, and removing his mask declares that he seeks but one reward, and kisses the shoulder of his juvenile mistress, who is present. Her mother enraged at his audacity, lashes him across the face with her riding whip, and orders him to be siezed. He instantly leaps the barier, and is lost sight of. Some years after, the young lady, then a wealthy widow, and heiress, bearing the name of Madame Julie Corinne, comes to France, where she is courted by Count Floreville, or rather for him, by his father the Marquis de Vernon, formerly a neighbour of hers in St. Domingo. Count Floreville, a dissipated young nobleman, is continually crossed in his love adventures, by the more attractive pretensions of a rich Creole gentleman, M. Ardenford, who is ranger to the Duke of Orleans, and has created quite a sensation in Paris by his manners and accomplishments. This is of course no other than the Creole slave; he again meets Corinne ; a recognition, and the most violent love ensue. Their happiness is however embarrassed, and deferred by the intrigues of the marquis and his son, which form the varied incidents of the drama. At one time the marquis contrives the arrest of Ardenford, who is to be sent to the Bastile, but the Creole cleverly manages to have the young count sent thither in his place. Finally, Ardenford being openly insulted with the stigma of his birth, and slavery by Floreville, challenges him, and the duel is about to take place, despite of the terror and distraction of Corinne, when the marquis discovers that he is Ardenford's father, and that the count is his brother. This leads to a satisfactory termination of the drama, in the promised union of Ardenford and Corinne.

And now to speak of the music. The overture is a brilliant piece of instrumentation. The introductory chorus of huntsmen, “The chase, the chase” is fresh and vigorous. The ballad, “ Child of the Sun” is a thrilling plaintive melodly, full of soul; Miss Romer sang it well, the melody of this air is skilfully made to run throngh the opera. The air and duet “On Zephyr's wings” is cleverly written and flows easily; this is followed by a light little chorus simple in structure but decidedly elegant. The scene beginning "Ha! what is that I see?" contains a lively chorus, and is throughout good, from the animation and variety that are kept up in the music, which let not the action stand still, but keep every thing astir and bustling. Then comes a fragment of the opening chorus, well marked with light and shade, but simple in structure. None of the chorusses have grappled with any great difficulties in the

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way of elaborate construction. When Beethoven and some of the other great Germans wrote chorusses, they made fugue, imitation and all the powers of counterpoint combine for the production of their effects, and thus raised a massive structure, sublime from its solid grandeur., Balfe's chorusses are of a simpler mould, yet not without a degree of grandeur, since he throws together fine and well contrasted harmonies, and always contrives to have a graceful ground work in his subject. The duet, “ There is an instinct," is pretty, quite in Balfe's usual style, and it was well sung. The concluding chorus of the first act has newness and brilliancy. In the second act, the air “ There is nothing so perplexing;” excellently sung, is one of the gems of tlie opera. There runs through it a vein of real comedy. It is original, though one of a large class of airs to be found chiefly in the German operas. It is followed by an exceedingly graceful melody also original in character, and written with a very well wrought accompaniment. The long and interesting scene subsequent to it has the merit of always keeping attention fixed on the music. The air, “When fond remembrance," and the part beginning “I do confess " deserve particular notice--the former from its tender sweetness, the latter from its rich horn accompaniment. The chorus “When pleasure has unfurled," is well worked up and pleasing. In the romance,

Love, in language,” the way in which the air is harmonized with the male voices is striking. The concluding chorus of the second act is spirited, and, though sufficiently stirring, it is not too loud ; the effect being produced by higher means than mere noise. In the third act are particularly to be noted the energy thrown into the passage, beginning “ Camille you hear me," and the goodness of the chorus “Thro' Wood and thro' Forest.” The quarieite of male voices “ There is a destiny," is fine ; it is one of those unaccompanied morceaux in which Rossini, when sometimes leaving his usual more flowery track, delights to revel. It is grave, severe, simple, and yet full of meaning : it leaves nothing to be desired.

The whole ofera indeed adds a new and very verdant laurel to the wreath of fame already acquired by Mr. Balfe; and it must be said that the performers engaged showed without a single exception, by the ability of their singing, that they were determined as far as lay in their power the honours of the composer should not fade. To the voices of the vocalists, and to the pleasant acting also of Mr. Harley in a triling part, may be ascribed, in a great measure, the immediate positive success of this really great lyrical product on.

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SADLERS WELLS THEATRE.

Miss Laura Addison continues to display, at this theatre, dramatic powers as varied, as they are striking. What a difference is there between the character of Isabella in "The Fatal Marriage” and that of Helen in Bulwer's play of “Money ; " yet in the impersonation of both, Miss Addison conspicuously excels. Whether the part be gentle or energetic, this excellent actress is alike eminent in her capability of pourtraying the exquisite pathos and intense feeling, that characterize a woman's nature. In the range of heroines she so ably personifies, there is one somewhat distinct from the others, to which we would here particularly refer. The character we mean is that of Isabella, in Shakespeare's superb, but singular drama“ Measure for Measure." Although

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Shakespeare often made choice of classical subjects, there is no personage throughout all his works who bears so strong a resemblance to those grand creations-statue like in their marble purity and polish--the productions of Euripides and Sophocles, as this same Isabella, so virtuous, and so stern in virtue. The unbending heroine of Measure for Measure loves her brother exceedingly; his life and her own peace of mind are at stake; yet to preserve them, she will not move one step beyond the right: nay, so vile does any thing wrong appear to her, that even when a suppliant at the feet of the tyrant who holds the chord of her brother's existence, she is aroused in an instant by his merely hinting evil, and denounces his allusion to baseness with imperial indignation. And yet there is so much of softness, amiability, and tenderness in the mind and manner of the wise and admirable novice, that one cannot but feel at the conclusion of the play, when the Duke takes her to wife, that he is attaching to his diadem a gem beyond all price. Such indeed must be the prevailing sentiment in the representation of Isabella, as played by Miss Addison. She hits exactly the notion of the poet, and pourtrays the very Isabella that he would draw, encircled as that heroine is with a mingled halo of classic and christian purity. Miss Addison's delivery of the following celebrated lines makes an impression not easily to be forgotten :

Isab. Too late? why, no; I, that do speak a word,
May call it back again : Well, believe this,
No ceremony that to great ones ’longs,
Not the king's crown, nor the deputed sword
The marshal's truncheon, nor the judge's robe,
Become them with one half so good a grace,
As mercy does. If he had been as you,
And you as he, you would have slipt like him ;
But he, like you, would not have been so stern.

Ang. Pray you, begone.

Isab. I would to Heaven I had your potency,
And you were Isabel! should it then be thus ?
No; I would tell what 'twere to be a judge,
And what a prisoner.
Lucio. Ay, touch him: there's the vein.

[ Aside.
Ang. Your brother is a forfeit of the law,
And you but waste your words.
Isab.

Alas! alas!
Why, all the souls that were, were forfeit once ;
And He that might the vantage best have took,
Found out the remedy. How would you be,
If He, which is the top of judgment, should
But judge you as you are ? O, think on that;
And mercy then will breathe within your lips,

Like man new made. Throughout the whole of the play Miss Addison is equally great in thought and in expression, and this performance is another proof to us that the very first rank among our tragic actresses is now her indisputable right. We cannot conclude without remarking how ably Mr. Phelps enacts the Duke, and how truly Shakespearian in his comic vein is Mr. Scharf as the clown, Pompey, in this praiseworthy revival of “Measure for Measure.”

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THE PRINCESS'S THEATRE.

A pleasant variety of performance maintains the popularity, and reputation of this elegant place of entertainment. Within little more than a month, it has produced, in addition to its other attractions, two good and successful operas.

One of them, “ The Night Dancers,” is now so well, and generally known, that, with merely expressing our accord in the opinion of its excellence, we pass to the later production, “The Seven Maids of Munich,” a musical romance, written and composed by an old and worthy favourite of the public, George Herbert Rodwell.

The character of this operatic drama is of that light airy style, meant to amuse the ear by agreeable melodies and lively chorusses, without plunging the mind into the more profound depths of harmony, or calling upon the attention to follow through the intricate mazes of intense musical feeling. In a word, it is a pretty buoyant trife, and one that gives much pleasure in the hearing; while it leaves well defined recollections of its graces behind.

The materials out of which the plot is woven are slight in themselves, and only just sufficient to bind together the different musical portions of the play, yet they are skilfully put together and produce a very interesting and amusing effect. Among the musical pieces may be remarked the sweet unaccompanied morceau, “Oh I could weep from night till morn,” admirably given by Allen ; and a gypsy chorus very light and elegant, though simple and unpretending in its structure, the solo parts of which lose nothing from the rich deep voice of Miss Sarah Flower. Also the Round and Chorus in the third scene, is a soft serenade like melody and has a pretty effect, from the air, as sung by the seven maids in front of the stage, being echoed by the male voices in the distance, Finally, in the last scene, to which Mr. Compton's acting gives great effect, keeping the audience in thorough good humour, the little music that occurs is light and pretty, one duett in particular being in the first movement very graceful and in character, and concluding with a movement distinguished by considerable elegance. The singing throughout of Allen, Leffler, and Miss Flower, and the sprightly acting of Compton, and Miss Marshall, render this very creditable specimen of Mr. Rodwell's literary and musical ability, really a charming little production.

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EXHIBITIONS.

BRUNETTI'S MODEL OF ANCIENT JERUSALEM. 213, Piccadilly.

THERE is no other spot in the world of such sacred attraction to so many people of the earth as Jerusalem. The Mahometan views it as a place mighty in the recollections of his creed, and as the future scene of the last judgment. With the Jew, the very thought of Jerusalem sets his soul on fire. The memory of his bygone glory, the consolation of his present sorrow, the hope of his future joy,-all are centered there. The very Atheist and Deist, bold as their miserable vanity may be, cannot contemplate Jerusalem without awe, and admiration. But to the Christian! The hallowed locality of the old, and new law-the city of David, the arena. of man's redemption-to the Christian, Jerusalem is the holiest of the holies, living for ever in his warmest thought and prayer. The millions of armed warriors who, in ruder times, traversed Europe to rescue the land of their love from the infidel, the myriads of pilgrims who have since walked thither, the now absorbing interest of every Christian potentate and people on the spot, mark, at different periods, in different ways, the same immoveable, intense affection and reverence for Jerusalem.

His

Mr. Brunetti therefore deserves approbation unbounded, and patronage the most extensive for having, in this magnificent model, placed the ancient Jerusalem of the days of Herod thus visibly before us. work is unquestionably one of the most beautiful, and the most interesting sights that have ever graced the metropolis. The following description of the model we borrow from the programme to the exhibition.

"This elaborate work is the production of a private gentleman of biblical and literary reputation, who, to indulge his own ardent aspirations for a just notion of the great scene of the Mystery of Man's Redemption, undertook and executed it as a labour of love. The model occupies a space of nearly 200 superficial square feet, and has been prepared from exact measurements taken on the spot, after a diligent study for many years of all the historical psssages in the sacred scriptures and Josephus, as well as of all the learned authorities upon the subject, from the writers of the Middle Ages, down to Villepandus and Calmet, and thence to the writings of Dr. Wilde, Robinson, Bartlett, Williams, &c., giving a faithful and correct delineation of Ancient Jerusalem, as it stood, in the time of the Redeemer, with the various hills and valleys surrounding it, and every place mentioned or alluded to in the scriptures and the works of Josephus, presenting an exact representation of the magnificent buildings of the gorgeous temple, with all its courts, porches, cloisters, chambers, gates, &c., the Tyropean valley, (called in the Bible," Millo,") as before its being filled up by rubbish, on the destruction of the temple and city. The three walls of Josephus, (the position of which has occasioned so much controversy among the learned,) with their various towers, gates, &c., &c. Mount Zion, the ancient stronghold of the Jebusites, with the fortress of the Strong Corner-the palace of the kings