Note 70 — THE DRAMA.

The musical critic in the Examiner makes himself merry with our opinion of RUBINI’s singing. To differ from so profound a judge is, no doubt, a proof of great hardihood, not to say presumption, but our temerity is not without other abettors besides the Spectator; a Sunday print of the very day on which the Examiner is pleased to be jocular, had the boldness to handle the Signor rather roughly; and two, if not three, other papers—not contemptible ones—have been rash enough to hint that he is not quite so perfect a singer as a few French journals and our facetious friend so unhesitatingly assert. Moreover, if the sprightly critic will condescend to consult some of those who have made music the chief study of their lives, and have a due portion of cerebral matter in their craniums, he will find that our opinion is tolerably well backed though certainly it differs much from that entertained by many members of CROCKFORD’s, and by divers lady-singers who are deeply learned in the opera songs of the last dozen years.