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cent exhalations. And so on to the end of the 'sique, frank face, and affable demeanor, all find a programme.

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"Oh, ghost of Aristotle, rise,
And thunder forth thy unities."

The plain, social songs of this cantatrice were, of all her selections, the most beneficial, simply because they were the most thoroughly understood and felt. The execution of her operatic morceaux elicited surprise and admiration, on account of the voice and the execution; but, as a general thing, throughout the length and breadth of the country, they were neither understood nor appreciated, and therefore left no marked impression. Could she have overcome her scruples in regard to the stage, and in the larger cities have sung in the operas which we have named above, an audience would not have been wanting which would not only have derived rich, rare pleasure from the representation, but a substantial benefit would have been rendered to musical professors and students, which they may now hope for in vain.

We trust a different view of matters musical and dramatic may influence ALBONI.

The birth, early musical education, and subsequent musical experience of this distinguished Contralto, have been such as to secure for her a proud niche among the chief singers of Christencom. Born near Rome in 1826, she showed so great a love of music at the age of six years, that her friends were reluctantly compelled to accede to her wishes, and gave her, despite their prejudices, the best possible advantages for developing her talent. At the age of eleven she was placed under the care of a celebrated maestro, (Bagioli,) whose discipline for two years laid the foundation of her future fame. At thirteen, she entered the Conservatory of Music at Bologna, of which Rossini was then director. This great master was highly pleased with her wonderful voice and untiring assiduity, and devoted (a rare thing with him) much time to her instruction.

Maratta Alboni was now fifteen, and through Rossini's influence was engaged at the theatre in Bologna. She chose Pacini's "SAPPHO" for her debut, and her triumph was complete. Her high position was immediately recognized, and the next year she appeared at Milan with increased enthusiasm. She has since visited Vienna, Berlin, St. Petersburgh, Paris, London, and other European capitals, and has enlarged both her fame and her fortune.

Her first appearance here, at Metropolitan Hall, on Wednesday evening, June 23d, was brilliantly attended, though the season for concerts was passed, and the evening was sultry. We have seen and heard her, and derived a very good and substantial pleasure thereby. Her plump phy

witching exponent in her voice. She exhibits no dramatic power, and has but little spirituality in her organization; yet the tout ensemble is pleasurable to the last degree, and we pay but a poor compliment to human nature in saying that the picture is too full of the luxuriant present. The ripe fruits of mid-summer, and the more substan tial garnerings of autumn, are as tempting in their time as the balmy fragrance and the opening buds of immortal Spring. So when appears the lifeloving and matured Alboni, rich in the possession of her rare and goodly gifts, we wish that Heaven had made us just like her.

The programme of her first concerts answered well enough for summer weather. In the coming autumn, however, we trust that an opportunity will be offered us to witness her triumphs on the stage, the field in which she first won her fame, and the one too where only can the modern Opera, or selections therefrom, be most satisfactorily displayed.

French Opera at Niblo's.

REVERSING the order of nature, by which the birds of song desert our northern latitudes in winter for the more genial climate of the South, our favorite songsters, having cheered us during the winter months, have chosen the ardent tropics for the scene of their midsummer cantations. Steffanone, Bosio, and Salvi have left us, and under the direction of Maretzek are stirring the souls of the gay Mexicans and Chilians to rapturous plaudits, while Marini is renewing his old triumphs on the boards of the Opera at London.

In their place, we have had the French Opera Company from New Orleans, at Mr. Niblo's ever agreeable Garden. The company have performed the usual round of French opera with good effect and to large audiences. M'lle Jolly is a delightful singer, possessed of a voice well adapted to her repertoire, and a light, neat, graceful little figure, which conciliates and attracts at first sight. She is well supported by the company, and Mr. Niblo has once more laid us under obligations in furnishing a light and pleasurable summer musical recreation.

The Castle Garden opera-that unfailing resort of strangers in New-York during the summer months-has this season failed to be presented. Philadelphia and Boston have not been more snecessful in the possession of an Italian opera this summer. Our trio of musical cities must not again suffer such a desertion of their artists.

Madame Anna Thillon is progressing westward, and the papers are full of the accounts of her triumphs.

NOTE.-Several pages of book notices are crowded out; among others, notices of Winthrop's Speeches, Trescot's Diplomacy of the Revolution, Arvine's Cyclopædia of Anecdotes, &c.

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