s first style, and was
immensely popular. Later he wrote La Traviata, Rigoletto, Il Trovatore,
and Aida. When Verdi was an old man he wrote Otello, called his
greatest work. This was followed by Falstaff, full of bright fun.

Verdi's genius inspired many other musicians. Of them all Ponchielli
owed him most; his best opera is La Gioconda.

Puccini, a living composer, also owes much to Verdi; his Manon Lescaut,
La Boheme, Madame Butterfly, and The Girl of the Golden West prove his
great promise.

Mascagni is associated with one opera only, the Cavalleria Rusticana,
with its intermezzo which gave it popularity. His later work is
distinctly second rate.

Leoncavallo has followed Mascagni somewhat. His I Pagliacci is his
best-known opera.

X--COMPOSERS OF MODERN GERMANY AND NORTHERN EUROPE

Almost all Germans follow Wagner to-day, but Goldmark in his Queen of
Sheba shows independence, especially in his orchestration. Humperdinck's
lovely Hansel and Gretel has given him a place of importance.

The Bohemian, Smetana, who wrote The Bartered Bride cleverly used his
national airs, and this and his other operas are typical of his
country.

Glinka, born in 1808, founded the Russian school; his fine opera A Life
for the Czar is well known.

Richard Strauss, a follower of Wagner, is the composer of Salome and
Elektra; the music is rich and complicated, and his talent unquestioned.

In England, Balfe, born in 1808, wrote several operas, the best known
the Bohemian Girl, with its familiar airs. Since his day there has been
little serious work done, but light opera, notably Sullivan's Pinafore,
the Mikado, and others have had great success.

In America we have Horatio Parker, with his recent Mona, a production
full of originality, if one not yet popular; Reginald De Koven, who
wrote the excellent Robin Hood, and Victor Herbert, the author of
lighter works.

* * * * *

In addition to using this resume of opera, clubs should make out
programs on popular topics; or there may be one topic used to close each
program.

Subsidizing the opera: shall this be done by the state, as in Germany;
or by individuals, as in New York?

Cheap opera: is it possible for us to-day? How is it managed in Germany
and Italy? What is the expense of opera in New York, in great salaries,
scenery, costumes, etc.?

Give an idea of some famous opera-houses in Paris, St. Petersburg,
Berlin, Milan, Buenos Ayres, an