PUBLIC AMUSEMENTS OF THE METROPOLIS.

Of the twain Operas, the new house appears to have made the most auspicious commencement of the season. Indeed, there has been nothing of note at HER MAJESTY'S THEATRE save the singing of Alboni and Beletti in "Cenerentola," and the appearance of that established favourite, Coletti, who has succeeded Gardoni in "Ernani.”

"Masaniello" has proved a decided success at the ROYAL ITALIAN OPERA, which from its opening night has been attended by audiences conspicuous for rank and fashion. Her Majesty having paid two consecutive visits, is an evidence that royal taste has been as greatly won as that of her subjects in general. No one can marvel at the popularity of the present version of "Masaniello," while looking at the perfect manner which distinguishes its production. The directors of this house are entitled to the warmest thanks of all admirers of the lyric drama, for having brought forward a delightful work of art in so characteristic, noble, and liberal a style. One of the first modern musical critics ob

serves:

"Masaniello' cannot fail to become one of the standard works of the repertory. Like all great compositions, the more it is heard, the finer do the inspirations of the composer appear. There are many prominent points which impress the imagination on the first hearing; but when the opera is examined in detail, Auber's conceptions are more and more appreciated. Like the operas of other distinguished masters, 'Masaniello' is stronger in the middle acts than in the opening or concluding ones. The Huguenots' has its second and fourth acts (as done here, first and third); and 'Masaniello' has its second and third acts, both of which are perfection; in fact, in animation, excitement, and brilliant effects, these two acts are marvellous imaginings, colossal in choral conception, ingenious in instrumental illustration, and splendid in scenic spectacle. Mario has fulfilled every expectation in Masaniello. He may be in good or bad voice, but it is always a splendid picture he presents of the fisherman monarch; and since the days of Nourrit there has been no such representative of its heroic and fiery attributes. The charm of Mario's acting of this part is in its exquisite naturalness: there is no exaggeration; no melodramatic flourishes are perceived; he is truthful and unstudied; and the gradual developments of Masaniello's character, from his entrance to sing the barcarolle to the insane outpourings in the last act, were managed with consummate skill."

Massol, as the representative of Pietro, has certainly been the means of greatly contributing to the unequivocal success of the opera. The pantomime of Pauline Leroux, as Fenella, is graceful and expressive to a degree. The scenery is highly effective, and conveys a striking illustration of the powers of the painters, Messrs. Grieve and Telbin.

"The Trumpeter's Wedding," and "Separate Maintenance," are the titles of the latest novelties at the HAYMARKET. In the latter, Keeley and his clever wife of course sustain the principal characters, and of course convulse the audience after the customary fashion of these popular favourites. Their drollery is of a kind that must inevitably extract smiles where even the spectator's disposition happens to be of the most dolorous and stern character. After all, this is better than representing dramas partaking of the unpleasant nature of "The Rent Day"-a production which teems with false sentiment and clap-trap allusions, Mr. Webster would do well to avoid the "domestic" drama,