Since my last letter I have been twice to the theatre, which the late hours of dining render it impossible to do when one has any engagement. I saw Mozart's Figaro announced at Drury-lane, and delighted myself with the idea of hearing once more the sweet tones of my fatherland:--what then was my astonishment at the unheard-of treatment which the master-work of the immortal composer has received at English hands! You will hardly believe me when I tell you that neither the Count, the Countess, nor Figaro sang; these parts were given to mere actors, and their principal songs, with some little alteration in the words, were sung by the other singers; to add to this, the gardener roared out some interpolated popular English songs, which suited Mozart's music just as a pitch-plaster would suit the face of the Venus de' Medici. The whole opera was moreover 'arranged' by a certain Mr. Bishop (a circumstance which I had seen noticed in the bill, but did not understand till now),--that is, adapted to English ears by means of the most tasteless and shocking alterations. The English national music, the coarse heavy melodies of which can never be mistaken for an instant, has, to me at least, something singularly offensive; an expression of brutal feeling both in pain and pleasure, which smacks of 'roast-beef, plum-pudding, and porter.' You may imagine, therefore, what an agreeable effect these incorporations with the lovely and refined conceptions of Mozart must produce. 'Je n'y pouvais tenir'--poor Mozart appeared to me like a martyr on the cross, and I suffered no less by sympathy. This abominable practice is the more inexcusable, since here is really no want of meritorious singers, male and female; and, with better arrangement, very good performances might be given. It is true, even if the stage were in good order, a second Orpheus would still be required to tame English audiences. Far better was the performance in Covent Garden, where Charles Kemble, one of the best English actors, gave an admirable representation of the part of Charles the Second. Kemble is a man of the best education, and has always lived in good society; he is therefore qualified to represent a king royally;--with the 'aisance,' that is proper to all exalted persons. He very skilfully gave an amiable colouring to the levity of Charles the Second; without ever, even in moments of the greatest 'abandon,' losing the type of that inborn conscious dignity, so difficult to imitate. The costume, too, was as if cut out of the frame of an old picture, down to the veriest trifle; and this was observed by all the other actors, for which Kemble, who is also manager, deserves great praise.