res, and
various compositions for voice, harp, and piano.

It is only natural to find opera the most popular form for ambitious
Italian composers to use in striving for public favour. Where each
little town and village had its own opera-house, there was an
opportunity for the public to become accustomed to this form, while
other works stood less chance of production and brought less revenue to
the composer.

As early as 1764 we find the ballet music to the opera "Dario,"
published by Signora Bartalotti. In the next century, Ursula Asperi
leads in point of time, her first opera having been given in 1827. She
was conductor for a year at one of the Florentine theatres, and filled
the post with admirable skill. Carolina Uccelli produced "Saul" in 1830,
following it up with "Emma di Resburgo." Teresa Seneke obtained a Roman
hearing for her opera, "Le Due Amichi," and published also a quantity of
songs and piano music. Adolfa Galloni composed the opera, "Le Quattra
Rustici," besides instrumental and vocal music. Signora Casella was
another operatic composer, her "Cristoforo Colombo" having been produced
at Nice in 1865. Teresa Guidi is the author of numerous operas of our
own day, while the Countess Ida Correr, of Padua, has witnessed frequent
performances of her "Gondoliera."

Of the many women working in the smaller forms, Virginia Mariani has won
prominence at present, not only by her songs and piano music, but by her
cantata, "The Apotheosis of Rossini." Teresa Milanollo, a celebrated
violinist of the past century, published a number of compositions for
her instrument, besides various works for piano. Among other piano
composers in Italy during the nineteenth century may be mentioned
Teresa de Blasis, Natalie Bertini, Eugenia Appiani, Bertha Frugoni,
Clary Zentner, and Adele Branca Mussini.

Onestina Ricotti has tried her hand at songs, as well as publishing
piano works. Teresa Bertinotti, herself a famous singer, was the
composer of many popular songs and arias. Angelica Catalani was another
example of the combination of singer and composer, while Marietta
Brambilla added teaching to her other accomplishments. Maria Rosa Coccia
was a celebrity of the preceding century, and won great fame by her
youthful accomplishments in counterpoint, besides composing much church
music. Mariana Creti gained her renown as a player on the harp and
composer for that instrument.

The Netherlands has also its quota of musical women. I