Of the operas of Rossini that have been performed here, that of La Gazza Ladra is most peculiarly liable to all the objections I have made to the new style of drama, of which it is the most striking example. Its finales, and many of its very numerous pezzi concertati are uncommonly loud, and the lavish use made of the noisy instruments appears to my judgement singularly inappropriate to the subject, which though it might have been rendered touching, is far from calling for such warlike accompaniments.