the stage immediately before disappearing behind the _coulisses_--must be fresh in the _souvenir_ of our _dilettanti_ readers. But how shall we _parle_ concerning his _voix_? That exquisite organ, whose _falsetto_ emulated the sweetness of flutes, and reached to A flat _in altissimo_--the _voce media_ of which possessed an unequalled _aplomb_, whose deep double G must still find a well-in-tune echo in the _tympanum_ of every _amateur_ of taste. _That_, we must confess, as critics and theoretical musicians, causes us considerable _embarras_ for words to describe. Who that heard it on Saturday last, has yet recovered the ravishing sensation produced by the thrilling tremour with which Rubini _gave_ the _Notte d'Orrore_, in Rossini's "Marino Faliero?" Who can forget the _recitativo con andante et allegro_, in the last scene of "La Sonnambula;" or the burst of anguish _con expressivissimo_, when accused of treason, while personating his favourite _role_ in "Lucia di Lammermoor?" Ah! those who suffered themselves to be detained from the opera on Saturday last by mere illness, or other light causes, will, to translate a forcible expression in the "Inferno" of Dante, "go down with sorrow to the grave." To them we say, Rubini _est parti_--gone!--he has sent forth his last _ut_--concluded his last _re_--his ultimate note has sounded--his last _billet de banque_ is pocketed--he has, to use an emphatic and heart-stirring _mot_, "_coupe son baton!_" It is due to the _sentimens_ of the audience of Saturday, to notice the evident regret with which they received Rubini's _adieux_; for, towards the close of the evening, the secret became known. Animated _conversazioni_ resounded from almost every box during many of his most charming _piano_ passages (and never will his _sotto-voce_ be equalled)--the _beaux esprits_ of the pit discussed his merits with audible _gout_; while the gallery and upper stalls remained in mute grief at the consciousness of that being the _derniere fois_ they would ever be able to hear the sublime _voce-di-testa_ of Italy's prince of _tenori_. Although this retirement will make the present _cloture_ of the opera one of the most memorable _evenemens_ in _les annales de l'opera_, yet some remarks are demanded of us upon the other _artistes_. In "Marino Faliero," Lablache came the _Dodge_ with remarkable success. Madlle. Loewe, far from deserving her _bas nom_, was the height of perfection, and gave her celebrated _scena_ in the last-named opera _avec une force superbe_. Persiani looked remarkably well, and wore a most becoming _robe_ in the _role_ of Amina. Of the _danseuses_ we have hardly space to speak. Cerito exhibited the "poetry of motion" with her usual skill, particularly in a difficult _pas_ with Albert. The ballet was "Le Diable Amoureux," and the stage was watered between each act. * * * * * THE GREAT UNACTABLES.