O. P. represents “Old Prices,” and, as the management of the new theatre had raised the price of their entertainment, as they had a perfect right to do, these people demanded that only the old prices should be charged for admission. It was in vain that it was pointed out that very early notice was given of the intended rise, as indeed it was, directly after the destruction of the fire—_vide_ _Morning Post_, September 24, 1808: “The Managers, we understand, intend to raise the price of admission, when they open at the Opera to 7s. for the boxes, and to 4s. for the pit. The admission for the galleries to remain as before. Much clamour has already been excited against this innovation, but we think unjustly.” [Illustration: MADAME CATALANI.] Had this been the only grumble, probably no more would have been heard of it, but all sorts of rumours got about—That the proprietors, of whom Kemble was one (and, except on the stage, he was not popular), would make a handsome profit out of the insurance, and sale of old materials; that the increased number of private boxes, with their ante-rooms, were built for the special purpose of serving as places of assignation for a debauched aristocracy; and, therefore, a virtuous public ought to rise in its wrath against them. And last, but not least, they tried to enlist patriotic feelings into the question, and appealed to the passions of the mob—(remember we were at war with the French, and the ignorant public could not discriminate much between the nationality of foreigners) as to whether it was fair to pay such enormous nightly sums to a foreigner—which sums were partly the cause of the rise in price—when native talent was going unappreciated. This foreigner was Madame Angelica Catalani, a lady who was born at Sinigaglia, in 1779. At the early age of twelve, when at the convent of St. Lucia, at Gubbio, her beautiful voice was remarkable, and when she left the convent, at the age of fifteen, she was compelled to get a living on the stage, owing to her father’s ruin.