Calzolari, a remarkably sweet singer and graceful actor, and Sims Reeves, complete such a trio of tenors as has not often been united at one opera house. Mr Reeves' reception on the stage of the Italian theatre has certainly not been the less favourable on account of his being of home growth; and the same remark applies to Miss Catherine Hayes, a delightful singer, who will do well to pay attention to her acting. We make this remark in no unfriendly spirit: we are amongst the warm admirers of Miss Hayes' voice and talent, but we have seen her in parts whose dramatic requirements she seemed somewhat to overlook. It may express our meaning to say that she at times reminds us of the concert room. Upon the stage this should never be. We may instance her performance of Cherubino. Her singing in that charming part was excellent; her delivery of the thrilling and impassioned air, _Voi che sapete_, left nothing to wish for, and elicited as fervent an encore from a very crowded house as the most ambitious could desire. But as to illusion, we are bound to confess there was little enough--what with the ladylike calmness of her acting, and the epicene costume in which she thought proper to appear. We beheld before us a graceful young woman and an excellent singer--but of the wilful and enamoured page we had but glimpses. A little more spirit, and a little less satin, would have been a decided improvement. Of course we are all cognisant of the "wild sweet-briery fence" which, Mr Moore asserts, environs the beauties of Erin. But is it quite necessary that Miss Hayes should interpret the metaphor into feminine attire when she plays a male part?
We are unable, nor is it necessary, individually to criticise all the members of the Italian company now performing at her Majesty's Theatre, and which, in all respects, is excellent and most effective. There is one other singer, however, who must have a word of mention, were it only that he was the indirect means of making the English public acquainted with Jenny Lind. Belletti was formerly engaged at the opera at Stockholm, and was a great favourite with the late king, Bernadotte. Jenny Lind heard him, and his admirable method and acting at once revealed to her the treasures of the Italian school. She saw that she had much to acquire, and departed for Paris to study. But Belletti has a claim to other than second-hand gratitude. His singing and acting are alike first-rate. Nothing can be better than his Figaro; in less important characters he is equally careful and efficient. His forte is in _buffo_ parts, where his rich mellow voice and contagious merriment are greatly relished. He will probably become--we will not say popular, for that he already is in the highest degree, but an indispensable member of the London company. We regret to learn that he is shortly to accompany Miss Lind to America, and trust his absence will not be of long duration.