e grandeur, of their works, they must have
possessed. It does not seem allowable, for instance, to believe that
Beethoven created the charming and exalted beauties found in the opera
of "Fidelio" while inspired by no higher feelings than those which
fill the breast of him who labors mainly for renown. No: we think of
Beethoven, and of others like him, as those, who, while they were
favored with extraordinary native powers, were also imbued with a pure
love for music,--a love of such strength, that it formed a part of
their very natures. To such minds and hearts elevated artistic work
was as natural as life itself; in truth, we might almost say, was
necessary to life.

But, if great powers are required by the composer of an opera, so also
is it necessary that those who are to make known its meanings
fully--especially those who are to interpret its leading parts--should
possess, as singers and actors, more, to say the least, than ordinary
abilities; and those who, in their capability for complete, soulful
sympathy with the author's aims, who form, in fine, the very
embodiment of the latter's ideals, certainly deserve to stand next to
him in greatness.

Generally the brightest vocal stars have shed their effulgence upon
the operatic stage: here these singers have found the widest range for
their extensive powers of voice and dramatic action. The part of a
performer in opera (and here I refer not alone to one who acts the
leading _role_) is a most exacting one; for the artist must unite in
himself the qualities of both the singer and the actor. While called
upon to demonstrate with proper melody of voice and expression the
meaning of the music of the opera, he is also required to portray by
suitable dramatic movements its corresponding meaning as found in the
libretto. These remarks apply more particularly to those who
constitute the _dramatis personae_ in operatic presentation. Of course
we do not forget the very important aid afforded by those who are
included in the pleasing chorus, nor those who by instrumental
accompaniment add to the charm of--in fact, give indispensable support
to--the whole performance.

It would perhaps be superfluous to here dwell, at least more than
incidentally, upon the deep pleasure enjoyed by the lovers of music
and of dramatic art when witnessing the performance of a good opera.
At such a time their truly musical souls enjoy a delicious, a
sumptuous feast of melody; while the kaleidoscop