The first female singer at the opera is Mademoiselle MAILLARD. By means of a rather pretty face, a clear voice, and a cabal of malcontents (for there are some every where and in every line), she obtained loud applause, when she first appeared some years ago as the rival of the charming ST. HUBERTI. Since the revolution, France has lost this celebrated actress, and probably for ever. She emigrated, and has since married the _ci-devant_ Comte d'Antraigues. Although she had not a powerful voice, she sang with the greatest perfection; and her impressive and dignified style of acting was at least equal to her singing. At the present day, Mademoiselle MAILLARD has succeeded Madame ST. HUBERTI, and is, as I have said, the first singer, in point of rank. She is become enormous in bulk, and as the Italians express it, _canta a salti_. Her powerful voice fills the house, but she is not unfrequently out of tune: her declamation is noisy; while her masculine person gives her in all her motions the air of a Bacchante. These qualities, no doubt, recommended her to the notice of CHAUMETTE, the proclaimer of atheism, under whose auspices she more than once figured as the goddess of reason. She has, nevertheless, occasionally distinguished herself as an actress; and those who love noise, admire the effect of her transitions. But I give the preference to Mademoiselle LATOUR, who has a melodious pipe, which you will probably hear, as it is said that she has not retired from the stage, where she frequently reminded the public of the fascinating ST. HUBERTI, particularly in the character of _Didon_. Since the prolonged absence of Mademoiselle LATOUR, Madame BRANCHU _doubles_ Mademoiselle MAILLARD. She is of much promise both as a singer and actress. Her voice is agreeable, but not extensive. Mademoiselle ARMAND is another most promising singer, who has a more powerful organ than Madame BRANCHU, and when she has perfectly acquired the art of modulating it, will, doubtless, prove a very valuable acquisition to this theatre. Her voice has much sweetness, and sometimes conveys to the ear the most flattering sounds, as its low tones are grave without being harsh, and its high ones sonorous without being sharp. She seems to execute the most difficult pieces of music with considerable ease; but she is deficient in action. Mademoiselle HENRY is strong as to method, but weak as to means, in singing. There are several other female singers; but, in my opinion, their merits do not entitle them to particular mention.