I have not time to enumerate all the charming effects of the Opera, but I must not forget the magic property-harp, with, apparently, limp whip-cord strings, "the harp that once," or several times, was played by those accomplished musicians, _King Richard_, and _Friar Tuck_, the latter of whom has by far the most taking song in the Opera, and which would have received a treble [or a baritone] encore, had _Barkis_--meaning Sir ARTHUR--"been willin'." The contest between _Richard_ and the _Friar_ is decidedly "Dicky." Nor must I forget the magnificent property supper in the first scene, at so much a head, where not a ham or a chicken is touched; nor must "the waits" between some of the sets be forgotten,--"waits" being so suggestive of music at the merriest time of the year. Nor, above all, must I omit to mention the principal character, _Ivanhoe_ himself, played by Mr. BEN DAVIES, who would be quite an ideal _Ivanhoe_ if he were not such a very real _Ivanhoe_--only, of course, we must not forget that he "doubles" the part. There is no thinness about "_Ben Mio_," whether considered as a man, or as a good all-round tenor. I did not envy _Ivanhoe's_ marvellous power of sleep while Miss MACINTYRE was singing her best, her sweetest, and her loudest. For my part I prefer to believe that the crafty Saxon was "only purtendin'," and was no more asleep than _Josh Sedley_ on the eve of Waterloo, or the Fat Boy when he surprised _Mr. Tupman_ and _Aunt Rachel_ in the arbour, or when he pinched _Mr. Pickwick's_ leg in order to attract his attention. But, after all, _Ivanhoe_ and _Rowena_, as THACKERAY remarked, are a poor namby-pamby pair, and the real heroine is _Rebecca_. The Opera ends with a "Rebecca Riot." Every one wishes success to the new venture. [Illustration: "A1" Saxon Friar.]