n't of course "go on anyhow," but
are obliged to appear in their diamonds.

Pretty to see little Mlle. PALLADINO dancing. Very short life and a
merry one has the _premiere danseuse_ in this Opera. Just a few steps,
and then she "steps it," and is not seen again. There is too little of
PALLADINO at any time, and in this case, as she only comes on for five
minutes at the commencement of Act II., and then "_bon soir!_" she may
be described as "Small and Early."

_Thursday._--_Rentree_ of Mlle. ELLA RUSSELL as _Leila_ in BIZET'S _I
Pescatori di Perle_, another version of _The Diversions of Purley_,
a work now more or less forgotten. Signor VALERO better as _Nadir_
(isn't this the name of a well-known photographer?) than as _Don
Jose_. Not unlike the lamented GAYARRE. The more like he can become to
that tenor the better. M. DUFRICHE came from Madrid to play _Zurga_.
A long journey; almost sorry he gave himself the trouble, but there's
more than this for him to do. Lovely finish to First Act, but after
that the Opera is not a stirring one, the story being so idiotically
undramatic. ELLA fresher than ever.

_Friday._--_Lohengrin._ Wagnerian worshippers in their thousands. What
shall she do who comes after _Albani_ in the part of _Elsa_? That
is the question, and MAGGIE McINTYRE supplies the answer, which
is Uncommonly well. A sweet picture in a gentle frame of mind, so
Macintirely pure and simple. A trying, very trying, part. How grand
are the DE RESZKES--JEAN and EDOUARD--or more familiarly as we come to
know them better, JACK and NED. NED looking well, and singing so too,
in spite of recent chill. Warmth of reception to-night would thaw any
chill. But what a couple of bores are the characters of _Ortruda_
and _Telramondo_, even when superbly played as to-night, by Madame
FURSCH-MADI--(the real Mahdi at last!)--and Signor DAN DRADY, bedad!
Fortunately the Opera is considerably curtailed, or we should never
hear the last of it.

_Saturday._--_Il Trovatore._ Great night for "the big, big D",--that
is, for "the high D," on which the new tenor, M. RAWNER, alights with
a sudden bound that electrifies the house. His "high D" is quite an
_Eiffel tour de force_. Henceforth M. RAWNER must be known as "the
High D-iddle-diddle" tenor, and His Highness will be expected to
sustain his high reputation. Vocal effort almost eclipsed by wonderful
physical force, which enables him to burst through the prison
walls and bow to audience, who