Madame DELNA is forcibly dramatic, true, but not powerful as a singer, at least in Covent Garden. Nor is there in the character of this Maid of the Mill any such great opportunity whereby to test the power of the actress as there is in the part of _Santuzza_, or of _Anita_ in _La Navarraise_. Madame DELNA may be all that enthusiastic reporters have said she is, but she must have a great deal of power in reserve, for the display of which this opera does not offer the chance. Mons. BOUVET as _Merlier_, the Miller, who "created" the part in Paris, is good, but his acting is somewhat monotonous. Madame DE NUOVINA as _Françoise_, is a young _Lady Macbeth_, who gives the dagger and does not request that it may be returned to her again when done with. M. BONNARD, as the _Singing Sentinel_, reminding me of GILBERT and SULLIVAN'S _Sentinel_ "with a song" in one of the Savoy Series, was very good; and Mons. COSSIRA, excellent as the escaping prisoner, bore so strong a resemblance to the Director of the Fortunes of Covent Garden and Drury Lane, that people looked twice at their programmes in order to be quite sure that an apology for the singer had not been made, and that the much-talented Sir DRURIOLANUS had not, at the shortest possible notice, consented to be his "_remplaçant_." Mons. ALBERS, as the _German Captain_, ought to be in receipt of a very large salary, seeing "how wide he opens his mouth" when singing. All were good in the best of all possible operatic entertainments, including the unequalled orchestra conducted by M. PH. FLON, (is this "Phlon-FLON"?) who has taken his turn with Signori BEVIGNANI, MANCINELLI, and Mr. FREDERIC COWEN, the last-mentioned coming to look after his new Opera of _Signa_, in which Madame DE NUOVINA was charming, and Signor BENJAMINO DAVIESO appeared as the Anglo-Italian Tenor. Congratulations to Signor FREDERICO COWENI. _Saturday night._ _Elaine._ "If it's not very lively," observes Sir AUGUSTUS beforehand, "still it must be remembered that I have not only at heart the interests--and in pocket the interest--of Covent Garden, but also of '_Drear Elaine_.' Should it prove a joyous opera and attract the people, then I shall consider it as an example of 'Drawer-Elaine' at Covent Garden. But now--hark!--let us not trifle with time and tune. MANCINELLI is raising his _bâton_, up goes the curtain, and all in to begin. _Nous verrons._" And the "all" includes the Prince and Princess of WALES and their two unmarried daughters, and a very good house indeed. "And how is _Elaine_?" is the question. "Very well, thank you, and much better than she was two years ago," is the reply. _Elaine_ is decidedly thinner. One Act gone, and other judicious cuts have reduced her. The opera is consequently lighter. Due weight, however, is given to it by Madame MELBA and JEAN DE RESZKÉ. DRURIOLANUS has followed the precedent of "cutting the 'osses." But the "cackle" of geese followeth not. On the contrary, the applause is abundant.