I will say nothing to you of their music, because you are acquainted with it. But you can have no idea of the frightful cries and hideous bellowings, with which the theatre resounds during the representation. The actresses, throwing themselves into convulsions as it were, rend their lungs with squeaking: in the mean time, with their fists clenched against their stomach their heads thrown back, their faces red, their veins swelled, and their breasts heaving, one knows not which is most disagreeably affected, the eye or the ear. Their actions make those suffer as much who see them, as their singing does those who hear them; and yet what is inconceivable is, that these howlings are almost the only thing the audience applaud. By the clapping of their hands, one would imagine them a parcel of deaf people, delighted to be able to hear the voice now and then strained to the highest pitch, and that they strove to encourage the actors to repeat their efforts. For my part, I am persuaded that they applaud the squeaking of an actress at the opera, for the same reason as they do the tricks of a tumbler or posture-master at the fair: it is displeasing and painful to see them; one is in pain while they last, but we are so glad to see all pass off without any accident, that we willingly give them applause. Think how well this manner of singing is adapted to express all that Quinault has written the most soft and tender. Imagine the muses, loves and graces, imagine Venus herself expressing her sentiments in this delicate manner, and judge of the effects. As to their devils, let us leave their music to something infernal enough to suit it. As also that of their magicians, conjurers and witches; all which, however meets with the greatest applause at the French opera.