Of the gentlemen of the troupe we cannot speak with such unqualified praise. Herr Hablemann is a fair actor, and has many good tones in his voice, when he happens to hit them; but his old weakness for singing false has become chronic, and sometimes exhibits itself in a most exasperating manner: witness, the sextette in "Lucia," on Monday night. Mr. Joseph Maas is not a good actor as yet, but has a serviceable tenor voice, fresh, strong, and reasonably well cultivated. Mr. Clarke, the third tenor or falsetto or whatever he is to be called, acts poorly and walks in a waddle; his voice does not show traces of overwork. Mr. Carlton, the baritone, though now affected and awkward in his acting, gives promise of becoming one of the best American baritones. His singing and Mr. Hill's are most excellent. Mr. Seguin, who has not had a note in his voice these forty years, remains funny. The chorus and orchestra are good.
MISS KELLOGG'S company, now at the Boston Theatre, though by no means so strong as that which delighted us two years ago under the management of the Rosas, has thus far appeared to advantage, in a succession of popular operas. It possesses two prime donne, one of them, Miss Kellogg, ranking deservedly among the three or four great soprani; in lighter roles, such as "Marta" and "Zerlina," her success is unbounded, while as "Lucia" and "Margherita," her rendering has improved-vastly within the last three years, much that seemed hard and artificial having disappeared. Her fine voice, if in any way changed, has gained somewhat in power, while still retaining the same wonderful facility of execution and sweetness of tone. Mme. Van Zandt has not sung in Boston for some years, and during her absence has gained immeasurably in every respect. She has become a finished if not a great actress, and her fine voice is more flexible than ever. Mrs. Seguin is still the same sweet singer and piquant actress, and retains all her old-time popularity.