KING’s THEATRE.

OF the Italian Opera we have literally nothing to report, except that, up to very nearly the end of April, it has been in a state of wretchedness never equalled in our time. The present month, May, is to give us Mesdames PASTA, CINTI, Signors RUBINI, TAMBURINI, and ZUCHELLI,—but will any operas be ready for them? will the new operas announced be worthy of this theatre? And, let it not be forgotten, that about two-thirds of the season are over, and that two out of the three hundred guineas paid for each box may be said to have been thrown away, even if the remainder of the season should be worth anything. An attempt has been made to cover the disgrace brought on the Italian stage, by the German opera, which, though far superior to the Italian, is yet very inferior to that of last year. Fidelio has been performed, but Mad. PIRSCHER is not to be named with Mad. DEVRIENT; and as the weight of the opera falls on the female character, the difference between the two cannot be made up by any merit that the others may possess. Of this merit M. BLUM, as Rocco, has his share: he is a good singer and an excellent performer.

On the 18th was produced Zampa, a German opera, by HEROLD, which has been much praised in the foreign journals, and perhaps may excite an interest in those to whom the language is familiar; but musically considered, we find in it very little indeed that can justify the encomiums bestowed on the work abroad. It is a kind of Don Giovanni story, only the statue is of the female gender, and the profligate invites the marble lady, not to a supper, but to a wedding.

An air first heard in the overture, and afterwards sung by Mad. PIRSCHER, the heroine, is effective; as is a trio in the same act. And to the third act M. HUMMEL has written a finale, which very much strengthens the opera, and displays his skill in dramatic composition, though it does not exhibit much originality.

DRURY LANE THEATRE.

Nothing of any importance has been presented here since our last. The Maid of Cashmere continued to be performed till the parties engaged in it were dispersed. Mr. and Mrs. Wood, it seems, are preparing to depart for America. How the stage is to repair her loss we cannot guess. If we are to have only foreigners as first vocal women in our English theatres, her place may be filled certainly; but will the public long endure this? We believe they will, for they are grown apathetic.

The performers themselves, however, ought to be active; they should combine in their own defence, and open an English, a really English, theatre; the Lord Chamberlain would sanction them; and the town might be conciliated, if they would give good operas, demand moderate prices, and endeavour to keep offensive company of all kinds, not only women, but men, as much as possible out of the way.

COVENT GARDEN THEATRE.

The Coiners, an opera of Auber, produced at the latter end of March, we have now heard, and find it altogether unworthy of notice.

ENGLISH OPERA HOUSE, ADELPHI

Mr. Arnold opened this small house on Easter Monday, merely with a view to keeping his company together while his own theatre is rebuilding. A new opera, Philip of Anjou,—founded on a German story, of which a translation appeared some years ago in a collection of Tales by the Misses Corbet,—composed by the Mr. Martin who lately succeeded H. Phillips as Leporello, was performed for the first time with some success. Two or three old favourites have since been brought forward, apparently to the satisfaction of the town, for they have drawn numbers to the theatre; and new things are in preparation, which, we trust, will be ready by the time the blighting east wind leaves us, and takes in its train the universally-prevailing disease.

It is a fact, unparalleled in the modern history of the English stage, that about the middle and towards the end of last month,—the month of April, too, and after Easter—Drury Lane, Covent Garden, the King’s Theatre, and the Haymarket, were all closed for several nights! The illness of many of the performers was the ostensible cause; but we believe that the managers were too happy in being able to avail themselves of this excuse, and closed their doors merely because so few persons presented themselves for admittance.

Rumours are afloat that the two winter theatres are about to be virtually under one management, and that the artists are to be engaged with a condition that they shall perform at either house, as may be required. If they have any spirit, a monopoly of this novel kind may easily be defeated.