The weakest part of the performances at the opera is the singing. All are agreed as to the mediocrity of the singers at this theatre, called _lyric_. No one can say that, within the last ten or twelve years, they are improved. To any person fond of the Italian style, it would be a sort of punishment to attend while some of the singers here go through a scene. On the stage of the French comic opera, it has been adopted, and here also a similar change is required; but with the will to accomplish it, say its partisans, the means, perhaps, might still be wanting. The greater part of the old performers have lost their voice, and those who have not, do not appear to have sufficiently followed the progress of modern taste to be able all at once to embrace a new manner. The first singer at the opera, in point of talent, is LAÏS. He even leaves all the others far behind him, if we consider him only as a singer. He is a _tenore_, according to the expression of the Italians, and a _taille_, according to that of the French: in the _cantabile_ or graceful style, he is perfect; but he ought to avoid tragic pieces requiring exertion, in which his voice, though flexible, is sometimes disagreeable, and even harsh. Besides, he is absolutely deficient in nobleness of manner; and his stature and countenance are better suited to low character. Indeed, he chiefly performs in the operas termed here _opéras de genre_, such as _Panurge_, _La Caravanne_, _Anacréon_, and _Les Prétendus_. In these, his acting is correct, and his delivery judicious. LAÏS is no less famous for the violence of his political opinions than for his talents as a singer. At the period when the abettors of the reign of terror were, in their turn, hunted down, for a long time he durst not appear on the stage. He was accused by his brother performers of having said that the opera would never go on well till a guillotine should be placed on the stage. This stroke was levelled against the greater part of the actors and the musicians belonging to the orchestra. However, as LAÏS could not be reproached with any culpable _actions_, he found zealous defenders, and the public sacrificed their resentment to their pleasure. This lenity appears not to have had on him the effect which one would imagine. He still possesses every requisite for singing well, but seems indifferent as to the means of pleasing, and exerts himself but little.