ich the name expresses: the scenes are generally laid in
the country, and the characters introduced are of the lower orders: the
pieces commonly represented belong to the same class, therefore, as the
English operas, Love in a Village, Rosina, &c. but the dialogue is in
general more animated, less vulgar in the lower parts, and less
sentimental in the higher. The number of performers at this theatre is
not very great; but there are some good singers and dancers, and the
acting is almost uniformly excellent. Indeed, the French character is
peculiarly well fitted for assuming the gay and lively tone that
pervades their _opera buffa_, which may be characterised as amusing and
interesting in general, rather than comic; as full of spirit and
vivacity, rather than of humour. Occasionally, however, characters and
incidents of true humour are introduced; but these are in general
considered as belonging to a lower species of amusement; and are to be
found in higher perfection, we believe, in some of the inferior
theatres, particularly the Theatre des Varietes.

The acting at the Opera Comique appeared to us deserving of the same
encomiums with the comic acting at the Theatre Francais: every part is
well supported, not with the elegance that characterises the latter
theatre, but with perfect adaptation to the situation of the characters.
A Mademoiselle Regnaud, of this theatre, acts with admirable liveliness
and spirit. Her quarrel and reconciliation with her lover, in "Le
Nouveau Seigneur du Village," appeared to us a chef d'oeuvre of the light
and pleasing style of acting, which suits the character of the French
comic opera.

The Academie de Musique, (which is celebrated for dancers, not for
musicians), is on a very different plan from the opera in London. The
performers being in part supported by government, the prices of
admission are made very low; and the company, particularly in the
parterre, or pit, is therefore of a much lower class than in London,
though perfect decorum is, as usual, uniformly observed. The
performances at this theatre are, we think, decidedly superior to those
in the London opera. This superiority consists partly in the pre-eminent
merits of the first-rate dancers; but chiefly in the uniform excellence
of the vast number of inferior performers, the beauty of the scenery,
and the complete knowledge of stage effect, which is displayed in all
the arrangements of the representations.

We believe there a