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He decided, however, to defy fate, and to this end had recourse to means which he had often employed in Berlin, in order to get packed houses for his operatic productions. Thus, he always gave Sunday performances, for experience had taught him that he could always have a full house on that day.

A singer of finished art and ripe experience is Antonio Scotti. His operatic career has been rich in development, and he stands to-day at the top of the ladder, as one of the most admired dramatic baritones of our time. One of Naples' sons, he made a first appearance on the stage at Malta, in 1889. Successful engagements in Milan, Rome, Madrid, Russia and Buenos Aires followed.

All of the splendid scenery, stage fittings, costumes and musical instruments were lost in the fire, which destroyed the Grand Opera House, where the season had just opened to splendid audiences. Many of the operatic stars have given very interesting accounts of their experiences. Signor Caruso, the famous tenor and one of the principals of the company, had one of the most thrilling experiences.

I have no great desire to see Switzerland, for I am sure the Alps must be greasy with being climbed. Besides, the Alps and the gipsies, in common with waterfalls and ruined castles, belong to the ready-made operatic poetry of the world, from which the last thrill has long since departed.

I next persuaded myself that it would be a good thing to look up Bulwer Lytton, and to come to an understanding about the operatic performance of his novel, Rienzi, which I had dramatised. Having been told, on the continent, that Bulwer was a member of Parliament, I went to the House, after a few days, to inquire on the spot.

Her prodigality had considerably reduced her income, and when she retired from her profession it amounted to little more than twenty thousand francs. The state in which Gabrielli had lived suited a princess of the blood rather than an operatic singer.

The literary works of hers in which I have a direct personal interest, are a charming book of essays on Shakespeare's female characters, entitled "Characteristics of Women," which she did me the honor to dedicate to me; some pages of letterpress written to accompany a series of sketches John Hayter made of me in the character of Juliet; and a notice of my sister's principal operatic performances after she came out on the stage.

As we approached them, the clock on the old building of the Chamber of Peers struck eight, and at once the band commenced playing some operatic airs of exquisite beauty. Now a gay and enlivening passage was performed, and then a mournful air, or something martial and soul-stirring.

TUESDAY. Yesterday they played the only operatic favorite I have ever had an opera which has always driven me mad with ignorant delight whenever I have heard it "Tannhauser." I heard it first when I was a youth; I heard it last in the last German season in New York.

The principles of Gluck's school of operatic writing may be briefly summarized as follows: That dramatic music can only reach its highest power and beauty when joined to a simple and poetic text, expressing passions true to Nature; that music can be made the language of all the varied emotions of the heart; that the music of an opera must exactly follow the rhythm and melody of the words; that the orchestra must be only used to strengthen and intensify the feeling embodied in the vocal parts, as demanded by the text or dramatic situation.