adame Dugazon, who created the type). The parts of Siebel in _Faust_
(Gounod), Urbain in _Les Huguenots_, Stephane in _Romeo et Juliette_
(Gounod), are all written for soprano, and when sung in Italian
require not only transposition of the principal airs, but the use of
_pointage_ in passages where transposition is impossible owing, for
instance, to the participation of other characters in the scene. Thus
the air sung by the page Urbain (_Les Huguenots_) on his entrance is
sung in the French theatres as written by Meyerbeer, _i.e._, in _B_
flat. In theatres where the Italian version is given, this air is
transposed a third lower into _G_, necessitating later numerous
_pointages_, for the reason already given.

I said that many deviations from the printed text are the work of the
author, or are authorized by him. A moment's reflection will convince
one of the truth of this statement. The singer chosen--usually by the
composer himself--to "create" a role, _i.e._, to interpret for the
first time some part in a new opera, generally studies it with the
composer, or under his direct supervision, and thus learns, directly
or indirectly, his ideas as to the meaning, style of execution, tempi,
etc., of the music. Very often during rehearsals, when the composer
begins really to hear his own work, he makes modifications in certain
passages, alterations of the words or suppressions of the notes that
are either ineffective, or lie awkwardly for the voice. But the opera
has already been printed for the convenience of the singers and
choristers studying the roles and choruses; consequently, such
modifications, rearrangements, and "cuts" (as excisions are termed),
do not find their way into the published scores.

Meyerbeer, as I have been informed by competent authorities, was
constantly modifying his compositions. With him, the work of revision
and emendation was never finished. It is said that this was more
especially the case with his last opera, _l'Africaine_, which he was
continually altering and revising, never being able to satisfy
himself. Two versions of the libretto were prepared for him by Scribe,
and two distinct settings of the music are published, although only
one is performed.[5]

[Footnote 5: Cases are numerous of changes made by composers even
after their work has been produced. The Fountain Scene in _Lucia_ was
entirely remodelled by Donizetti, some time after its original
production at Milan, the first setting be