Monday.—­Rentree of Miss MAGGIE MCINTYRE, appropriately enough as Margherita.  “She’s Macintyrely first-rate,” says our blase young man, on being caught napping after the Opera, and interviewed on the spot, “but can’t say much for the rest,”—­except the rest he took himself.

[Illustration:  Our Reporter hoff to the Hopera.]

Tuesday.—­Our blase young man went to this, but as we only saw him for a moment passing in a cab, when he looked out, and bade us a “Good night,” we can only suppose that it was “a good night” at the Opera.  He writes to say that the performance of The Huguenots was excellent, GIULIA RAVOGLI being specially good, but the draughts too strong. What draughts?

[Illustration:  Miss Damian as La Cieca feeling her way.]

Wednesday.—­La Gioconda.  A good performance all round.  But the night specially memorable as being the first appearance of Miss GRACE DAMIAN on the stage of the Royal Italian Opera anywhere.  It is a good omen for her that she appeared in Signor PONCHIELLI’s Opera, the composer being a distant connection of the great ancient Italian family of the PONCINELLI, of which Mr. Punch is now the chief universal representative.  It is a remarkable fact, too, showing the strong force of canine attachment, which centuries cannot obliterate, that the Libretto of La Gioconda, set to music by Signor PONCHIELLI (the “h” came in when the genuine liquid “n” was dropped) was written by TOBIA GORRIO.  That an Opera, written by TOBIA, or TOBY, and composed by PUNCINELLO, should possess all the elements of success, goes without saying.  We welcome Signor GALASSI (a sporting title, reminding us of Gay Lass), with MARIA PERI (who must appear in Il Paradiso), and GIULIA RAVOGLI.  Her Grace of DAMIAN made a most successful debut as La Cieca, and was cheered to the echo.  Thank Heaven, there isn’t an echo in Covent Garden—­but, if there had been, Echo would have repeated hospitably the “good cheer” a dozen times, as she does somewhere about Killarney.  Signor LAGO stars “HER MAJESTY THE QUEEN” at the head of his bill, but it is only to say that Her Gracious MAJESTY has been graciously pleased to honour him by subscribing for the Royal Box during the present season, which is, in effect, saying that he has let the best box in the house for a Sovereign!

Thursday Night.—­ALBANI as the unhappy Traviata.  Big and enthusiastic House.  Signor PADILLA, as the Elder Germont, excellent, and just contrived most gracefully to refuse the honour of an encore for his “Di Provenza.”  Since RONCONI, it is difficult to call to mind an artist equal histrionically to Signor PADILLA, who is so grave and impressive as that utter bore, “the Elder Germont,” so gay and eccentric as Figaro, and so dashing and reckless as the unscrupulous Don Giovanni.  That milksop, Germont Junior, known as Alfredo, was adequately played by Signor GIANNINI, whose name, were it spelt GIA-"NINNY,” would partly describe the character he represented.