An englishman just arrived at Paris, will be much disappointed, if, in going to the opera, he expects to find that blaze of beauty, that striking _coup d’œil_, and that brilliant assemblage of rank and fashion, to which he has been accustomed in the Hay market. A connoisseur, and “lover of soft sounds,” will turn away with equal disgust from a performance, in which the miserable rant of french composition takes the place of the best italian music. But to those, who are contented with splendid exhibition, graceful attitude, and extraordinary agility, this theatre affords an amusement decidedly unequalled. The _ballets_, in this respect, deserve all their celebrity; and the opera, in addition to the first figurantes in Europe, and the most striking decorations, has to boast some very superiour dancers, without counting either Vestris, Dehayes, or mademoiselle Chamroi, of whom I shall probably have occasion to speak hereafter; but who, though engaged, have not yet appeared this season. The most distinguished dancer at present is mademoiselle Clotilde, an almost gigantic beauty, who, to great strength and extraordinary height, unites much grace, agility, and knowledge of her profession. Her person is well made, her figure commanding, and her countenance expressive. Next to her in reputation is madame Gardel, who is deservedly a great favourite with the parisian public; and madame Vestris, madame Chevigney, and several others, are always received with considerable applause. If the french _ballet_ has a decided advantage over the english, it arises from the great art and neatness, with which they contrive to fill the stage. It is not an unusual thing, to see in processions or dances, which require the pomp of show, two hundred persons assembled at a time, all of whom are so admirably drilled, that the whole proceeds with the utmost regularity. _Lais_ is the only singer, who enjoys any thing like popularity; and judges of music assure me, that his voice is uncommonly good. As to the audience, I have only to refer you to the remarks which I have already made about “le théâtre françois.” It is the fashion to be, if possible, less dressed at the opera, than at any other _spectacle;_ and the boxes (very few of which are hired by the year) are exactly on the same footing as those of the french theatre. The price is something dearer.