His first appearance, as a Solo-player, was at “Russian Field’s” Concert, at Her Majesty’s Theatre, in 1832, when he played Spohr’s Dramatic Concerto: this was also the year of his first engagement (by Mr. Monck Mason) at Her Majesty’s Theatre, where he remained until the establishment of the Royal Italian Opera, which he left in 1850, to become the Leader of the Liverpool Philharmonic. BREAM THOM, a native of Portsmouth, dating his days from 1817, made his first approaches to the Violin at eight years of age, having from infancy evinced a predilection for music, although no other member of his family was that way inclined. He studied hard, and, at seventeen, was appointed Leader of the Orchestra at the Portsmouth Theatre. He appeared, in 1838, at the Hanover Square Concert-Room, in London, and was favourably received. Shortly afterwards (by the advice of Mr. Oury), he went to Paris, and placed himself under Monsieur Robretch, a professor to whom belongs the credit of having had some share in the tuition of De Beriot, and of Artot. Returning to England, he settled eventually at Brighton, where he has for some time officiated as Leader at the Theatre, Amateur Concerts, &c. CHARLES FREDERICK HALL, five years a member of Her Majesty’s Theatre, and the present Musical Director of the Royal Marionette Theatre, London, was born at Norwich, in 1820. When a mere child, his melodious voice attracted the attention of the Norwich denizens; but his early predilection for the stage induced his family to accept an engagement for him from Elliston, in 1829, for the purpose of bringing him out in juvenile operas (at the Surrey Theatre, London), in which Master Burke, Miss Coveney, Miss Vincent, and Master Henry Russell, &c. shared with our youthful vocalist the favours of the public. Eighteen months after this period, his friends recalled him to his birth-place, and articled him to Mr. Noverre, a dancing-master in high repute, by whose advice he immediately commenced the study of the Violin—upon which instrument he made such rapid progress, that his friends were urged to cancel their agreement with Noverre, and destine the youth exclusively for the musical profession. Although his attainments in singing, as well as on the piano and violin, seemed to point with sufficient clearness to his proper path, a passion for the stage developed itself in 1833, when he appeared on the boards of the Norwich Theatre, in the character of “Little Pickle,” in the farce of the _Spoiled Child_; by which personation he attracted such notice, that the manager of the Theatre engaged him to appear in that character at all the theatres belonging to the Norwich Circuit.