His exertions, however, as 'Hawthorn,' would, on this particular evening, have been entitled to less censure, if he had taken the trouble to learn his part. The minor characters in opera are shamefully executed at this house. They were bad enough when the WOODS and BROUGH were to be supported, but infinitely worse now. There are singers enough in the country to make up this deficiency. Why are they not engaged? There is Mr. BROUGH for the 'Basils,' Mr. LATHAM for the 'Figaros;' there is Mr. HORN, who _can sing_, if he cannot _act_ the 'Elvinos'; and surely an 'Almaviva' and a 'Hawthorn' might be found, to fill the places of those who now disgrace these characters at the Park. With two or three exceptions, (and among them, in justice, we must name Mr. HAYDEN,) the most exquisite music is played by an admirable orchestra to no better purpose than to show the sad deficiency of the singers. Of Mde. Caradori Allan's performance of the 'Somnambulist,' we are not prepared to speak fully; as, in consequence of the early hour at which this Magazine is put to press, we have, 'at this present writing,' only seen her first appearance in the character; when, from over-exertion, perhaps, in the second act, she was unable to go through with the third as satisfactorily as we may hope practice will enable her to do hereafter. * * * * * THE NATIONAL THEATRE, under its present management, is second to none in the United States in the varied talent and efficiency of its acting company, in scenic effect, general good order, the attraction and excellence of its entertainments, and the number and respectability of its audiences. It has uncommon materials for either tragedy, comedy, or opera. 'Macbeth' and 'Othello,' for example, the 'School for Scandal,' 'Cure for the Heart-ache,' etc., could not probably be produced more effectively in any particular, even at Drury Lane. Othello, especially, with J. W. WALLACK, VANDENHOFF, BROWNE, ABBOTT, Miss WHEATLEY, and Mrs. SEFTON, in the principal characters, is really a rare treat. It is so much like SHAKSPEARE's Othello, that we think even the great bard himself would recognise it; which is more than can be said of most portraitures of his splendid creations. In 'Macbeth,' too, we opine that Mr. Vandenhoff is scarcely excelled, even by Macready--still less by any other living tragedian; and at neither of the two great London theatres, where we saw Macready in this character about a year since, was the play otherwise better done than at the National. In his personations of Hamlet, Iago, and Cato, Mr. Vandenhoff is also preeminently great, if not unequalled. He has strongly confirmed his reputation as an artist of the first order in his profession, and he is, moreover, as we are assured by those who know him, a gentleman of sterling acquirements, and unassuming worth. In person, he is of medium height, with an intellectual and expressive face, and a voice at once pleasing and powerful.