al art. It seems to me there is more intrinsic
value--more variety in the works of modern Italian composers than in
those of other nations. We know the operas of Mozart are largely founded
on Italian models.

"Of the great modern Italian composers, I feel that Puccini is the most
important, because he has a more intimate appreciation of theatrical
values. He seems to know just what kind of music will fit a series of
words or a scene, which will best bring out the dramatic sense.
Montemezzi is also very great in this respect. This in no way detracts
from what Mascagni, Leoncavallo and others have accomplished. It is only
my personal estimate of Puccini as a composer. The two most popular
operas to-day are _Aida_ and _Madame Butterfly_, and they will always
draw large audiences, although American people are prone to attend the
opera for the purpose of hearing some particular singer and not for the
sake of the work of the composer. In other countries this is not so
often the case. We must hope this condition will be overcome in due
time, for the reason that it now often happens that good performances
are missed by the public who are only attracted when some much heralded
celebrity sings."

AMERICAN COMPOSERS

Asked for his views regarding American operatic composers, Mr. Scotti
said:

"American composers often spoil their chances of success by selecting
uninteresting and uninspired stories, which either describe some doleful
historic incident or illustrate some Indian legend, in which no one of
to-day is interested, and which is so far removed from actual life that
it becomes at once artificial, academic and preposterous. Puccini spends
years searching for suitable librettos, as great composers have always
done. When he finds a story that is worthy he turns it into an opera.
But he will wait till he discovers the right kind of a plot. No wonder
he has success. In writing modern music dramas, as all young Americans
endeavor to do, they will never be successful unless they are careful to
pick out really dramatic stories to set to music."

OPERATIC TRAINING

On a certain occasion I had an opportunity to confer with this popular
baritone, and learn more in regard to his experiences as impresario.
This meeting was held in the little back office of the Metropolitan, a
tiny spot, which should be--and doubtless is--dear to every member of
the company. Those four walls, if they would speak, could tell many
interesting s