Even another leading card in my hand was played before Easter. Mademoiselle Giuliani (Madame Jullian van Gelder), who had earned laurels at the then Academic Royale (at the period mentioned the Academic Nationale) of Paris, in Verdi's riffaciamento of the "Lombardi" (entitled "Jerusalem"), appeared in "Ernani." This lady's success was undoubted. She was more than favourably received by the subscribers, although she came at an evil time. Not so fortunate was Bordas, the Ernani of the revival, despite the advantages of his person, and the vigour of his acting. The London public considered his voice harsh and unsympathetic; and what favour could any other qualities find, in its estimation, when the one predominant element failed in attraction?