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The present musical idol of the hour was Glinka; and Ivan, whose piano practice had always been kept up, went quietly to the big Érard which stood lonesomely upon the platform at the end of the hall, opened it, seated himself, and dashed into the brilliant overture to "Russlan and Ludmilla": playing with such verve and spirit that, ere he finished, every man in the room had gone to augment the group around the instrument, and Ivan had his audience worked up to any pitch of appreciation.
He went to "Eugen Onyegin" and enjoyed it, because there was still a great deal of the schoolgirl in him; but after that he was flung on to Glinka's "Russlan and Ludmilla," and this seemed to him quite interminable and to have nothing to do with the gentleman and lady mentioned in the title.
"I want," he said to a friend, "to write an essentially national opera both as regards subject and music; something which no foreigner can possibly accuse of being borrowed, and which shall come home to my compatriots as a part of themselves." His fame depends solely upon the two operas, La Vie pour le Tsar and Russlan et Ludmille.
No Russian opera, it seemed, "Russlan and Ludmilla" possibly excepted, had gone home to the hearts of the Russian people as had this piece of youthful work, which, though its merit was perfectly genuine, was by no means free from faults. At the opera-house itself, every one, from the Menschikov to Merelli and the chorus, was in a state of beaming delight.
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