before his eyes, Beaucarde might well persevere. At Florence, Romani, the celebrated musical professor, heard him sing, and insisted upon giving him lessons--by which, however, he did not long profit, having accepted an engagement at a Neapolitan minor opera. At Naples he speedily ascended in the scale, and finally made his debut with complete success at the San Carlo. Mercadante, struck by the beauty of his voice, immediately offered his services as his instructor; but, like Romani, he did not long retain his pupil. Perhaps it was as well he did not; for, whatever Beaucarde might have gained in modish art under his tuition, would have been at the expense of that chaste simplicity which now characterises his style, constituting, in our opinion, one of its greatest merits. How far the taste of his present public will suffer that extreme refinement of style to be compatible with his permanent and complete popularity, may be matter of doubt. The London opera is indebted for his acquisition to the veteran Lablache, who, whilst indulging in a vacation ramble through his old haunts, heard him at the San Carlo, and brought news of his excellence from the shores of the Mediterranean to the banks of the Thames. Calzolari, a remarkably sweet singer and graceful actor, and Sims Reeves, complete such a trio of tenors as has not often been united at one opera house. Mr Reeves' reception on the stage of the Italian theatre has certainly not been the less favourable on account of his being of home growth; and the same remark applies to Miss Catherine Hayes, a delightful singer, who will do well to pay attention to her acting. We make this remark in no unfriendly spirit: we are amongst the warm admirers of Miss Hayes' voice and talent, but we have seen her in parts whose dramatic requirements she seemed somewhat to overlook. It may express our meaning to say that she at times reminds us of the concert room. Upon the stage this should never be. We may instance her performance of Cherubino. Her singing in that charming part was excellent; her delivery of the thrilling and impassioned air, _Voi che sapete_, left nothing to wish for, and elicited as fervent an encore from a very crowded house as the most ambitious could desire. But as to illusion, we are bound to confess there was little enough--what with the ladylike calmness of her acting, and the epicene costume in which she thought proper to appear. We beheld before us a graceful young woman and an excellent singer--but of the wilful and enamoured page we had but glimpses. A little more spirit, and a little less satin, would have been a decided improvement. Of course we are all cognisant of the "wild sweet-briery fence" which, Mr Moore asserts, environs the beauties of Erin. But is it quite necessary that Miss Hayes should interpret the metaphor into feminine attire when she plays a male part?