The general programme for 1866 when issued, presented some points of peculiar attraction, including “Israel in Egypt,” by Handel, on Monday evening; an Anthem by Dr. Spohr, and the Oratorio of “Naaman,” by Costa, on Wednesday morning; “St. Cecilia,” a new Cantata by Benedict, selections from the Passion Music of Handel, and first and second parts of the “Creation,” by Haydn, on Thursday morning; and the “Messiah” on Friday morning. Most lovers of sacred music would have preferred Haydn’s entire Oratorio to the sombre Passion Music. The committee, acting on the principle of securing the highest talent, made engagements with Madlle. Tietjens, Madame Rudersdorff, Miss Edith Wynne, Madame De Meric Lablache, Madlle. Anna Drasdil, three of them appearing for the first time in this city; also with Mr. Sims Reeves, Mr. Cummings, Signor Morini, Mr. Santley, Mr. Weiss, and Signor Gassier, all well-known vocalists. The instrumentalists were all first-class performers. The choral body was much improved and strengthened, and included 62 of the best trebles ever selected, 24 contraltos, 35 altos, 59 tenors, and 67 basses. Handel’s Oratorio, “Israel in Egypt,” was splendidly performed on the Monday evening; the solos were in the hands of first-class vocalists, but the absence of Mr. Sims Reeves was a disappointment. Mr. George Macfarren had improved the instrumentation by the addition of parts to the original score. He had no occasion to apologize for doing for “Israel,” what many musicians have done for other productions. It is not presumptuous to have recourse to the resources of more modern instrumentation, so long as the character of the work is not altered. On Wednesday morning, as we have said, the Prince and Princess of Wales were present. The performances commenced with Dr. Spohr’s Anthem “O blessed, for ever blessed, are they,” the first time of performance, and it was admirably rendered. Mr. Costa then conducted a splendid performance of his own Oratorio of “Naaman,” founded on a part of Old Testament history, relating to the restoration from death of the son of the Shunamite by the prophet Elisha; a subject not very well adapted for musical purposes. All Oratorios are cast more or less in the Handelian mould, but Mr. Costa has introduced more of the secular clement than usual.