"Le Nozze di Figaro" was perhaps less effective than had been the revivals of other masterpieces of Rossini and Mozart. In spite of the quiet charm of Madame Sontag's Susanna, there was an evident unfitness of Mademoiselle Parodi for the part of the Contessa, as well as of Miss Catherine Hayes for that of Cherubino. The latter part requires a contralto, not a soprano; and this chef d’oeuvre accordingly flagged, in comparison with those operas which had preceded it. Nor was Coletti, who had been already welcomed back to his post as an old favourite, seen or heard to his customary advantage as the Count.