who scarcely understand us, when we tell them that a waltz or quadrille movement is out of place in the mouth of a Cæsar, an Assur, or an Otello. With them the essential thing is to please: they are only difficult on this point, and their indifference as to all the rest is really inconceivable: here is an example of it. Davide, considering apparently that the final duet of _Otello_ did not sufficiently show off his voice, determined to substitute for it a duet from _Armida_ (Amor possente nome), which is very pretty, but anything rather than severe. As it was impossible to kill Desdemona to such a tune, the Moor, after giving way to the most violent jealousy, sheathes his dagger, and begins in the most tender and graceful manner his duet with Desdemona, at the conclusion of which he takes her politely by the hand, and retires, amidst the applause and bravos of the public, who seem to think it quite natural that the piece should finish in this manner, or, rather, that it should not finish at all: for after this beautiful _dénouement_, the action is about as far advanced as it was in the first scene. We do not in France carry our love of music so far as to tolerate such absurdities as these, and perhaps we are right." Lord Byron saw _Otello_ at Venice, soon after its first production. He speaks of it in one of his letters, dated 1818, in which he condemns the libretto, but expresses his admiration of the music. _La Gazza Ladra_ was written for Milan, and brought out at the theatre of "La Scala," in 1817. Four years afterwards it was produced in London in the spring, and Paris in the autumn. The part of "Ninetta," afterwards so favourite a character with Sontag, Malibran, and Grisi, was sung in 1821 by Madame Camporese in London, by Madame Fodor in Paris. Camporese's performance was of the greatest merit, and highly successful. Fodor's is said to have been perfection. The part of "Pippo," originally written for a contralto, used at one time to be sung at the English and French theatres by a baritone or bass. It was not until some years after _La Gazza Ladra_ was produced, that a contralto (except for first parts), was considered an indispensable member of an opera company.