Mrs. Billington, the daughter of a German musician, was born in London in 1765. In 1801-2 she sang alternately at Drury Lane and Covent Garden. She died in 1818. Bianchi wrote for this lady the opera of “Inez de Castro.” She is said to have played and sung at sight Mozart’s “Clemenza di Tito;” her voice ranged from D to G in altissimo. She indulged too much in ornament, but was especially celebrated for her “Soldier tired of War’s Alarms.” John Braham, a Jew pencil-boy--so the musical _on dit_ goes--was brought up by a singer at the Duke’s Place Synagogue. He made his début in 1787. He appeared first, in 1796, in Storace’s opera of “Mahmoud,” at Drury Lane. The compass of his song, “Let Glory’s Clarion,” extended over seventeen notes. He died in 1856. Storace, born in 1763, died in 1796. He was the son of an Italian double-bass player, was engaged by Linley to compose for Drury Lane, and for that theatre wrote the following operas:--“The Siege of Belgrade,” 1792: “Lodoiska,” 1794; and “The Iron Chest,” 1796. This brilliant young man wrote chiefly for Braham and Kelly. Madame Storace made her début at Drury Lane, in 1789, in her brother’s comic opera of “The Haunted Tower.” Bishop, who was born about 1780, produced his opera of “The Mysterious Bride” at Drury Lane in 1808. In 1809, the night preceding the fire, Bishop produced his first great success, “The Circassian Bride,” the score of which was burnt. After being long at Covent Garden, Bishop, in 1826, produced his “Aladdin” at Drury Lane to compete with Weber’s “Oberon” at Covent Garden. In 1827 he adapted Rossini’s “Turco in Italia;” and in 1830, for Drury Lane, he adapted Rossini’s “William Tell.” Michael Kelly, born in 1762, made his first appearance at Drury Lane in 1787. In his jovial career Kelly composed “The Castle Spectre,” “Blue Beard” (the march in which is very pompously oriental and fine), “Of Age To-morrow,” “Deaf and Dumb,” etc. He also wrote many Italian, English, and French songs, and had a good tenor voice. He became superintendent of music at the Drury Lane Theatre, and died in 1826. He was an agreeable man, and much esteemed by George IV. Parkes accuses him of a want of knowledge of harmony, and of stealing from the Italians. In May 1836 Madame Malibran (de Beriot) appeared at Drury Lane as Isolina in Balfe’s “Maid of Artois,” which was a great success. At the close of the season she went abroad. Returned in September, she sang at the Manchester Festival, and after a duet with Madame Caradori Allen, was taken ill, and died a few days after. This gifted woman, the daughter of a Spanish Jew (an opera-singer), was born in 1808. To return to our last batch of actors. James Wallack, born in 1792, began to be known about 1816, and in 1820 was principal tragedian at Drury Lane. His Hamlet, Rolla, and Romeo were very manly and bearable. He afterwards became stage-manager at Drury Lane, and was praised for his light comedy.