_Arvire et Evéline_, which, though a cold subject, taken from the history of England, is held in estimation. At this theatre are also performed what the French term _opéras de genre_. These are a species of comic opera, in which is introduced a great deal of show and bustle. _Panurge_, _La Caravanne_, _Anacréon_, _Tarare_, _Les Prétendus_, _Les Mystères d'Isis_, &c. are of this description. The music of the first three is by GRÉTRY. It is considered as replete with grace, charm, and truth of expression. The poem of _Panurge_ is an _estravaganza_. Those of the _Caravanne_ and of _Anacréon_ are but indifferent. It required no small share of talent to put words into the mouth of the charming poet, whose name is given to the last-mentioned piece; but M. GUY appears not to have thought of this. _Tarare_ is a tissue of improbabilities and absurdities. The poem is frequently nothing but an assemblage of words which present no meaning. It is a production of the celebrated BEAUMARCHAIS, who has contrived to introduce into it a sort of impious metaphysics, much in fashion here before the revolution. The music is by SALIERI; it is very agreeable. The decorations are brilliant and diversified. The piece is preceded by a prologue (which no other opera has) representing the confusion and separation of the elements; and at the time of its first appearance, I remember it was said that chaos was the image of the author's head. _Les Prétendus_ is a piece in one act, the plot of which is weak, though of a gay cast. The music is charming. It is by LE MOYNE, who died a few years ago, at an early period of life. _Les Mystères d'Isis_, which is now the rage, is an incoherent parody from a German opera, called _the Enchanted Flute_. To say that the music is by MOZART, dispenses me from any eulogium. The decorations are extremely beautiful and varied: a scene representing paradise is really enchanting. After speaking of lyric tragedies, I should have mentioned those which are either in rehearsal, or intended to be brought forward at this theatre. They consist of _Hécube_, _Andromaque_, _Sémiramis_, and _Tamerlan_. Although none of them are spoken of very highly, they will, in all probability, succeed in a certain degree; for a piece scarcely ever has a complete fall at the opera. This theatre has so many resources in the decorations, music, and dancing, that a new piece is seldom destitute of something worth seeing. What, at the present day, proves the greatest attraction to the opera, is the dancing. How bad soever may be a piece, when it is interspersed with fine ballets, it is sure of having a certain run. Of these I shall say no more till I come to speak of that department.