ana's music is Bohemian to the core, he brings about his effects
like a true artist. The national colour is not laid on in smudges, but
tinges the whole fabric of the score. Smetana's other works are less
known outside Bohemia. 'Das Geheimniss' and 'Der Kuss' are comic operas
of a thoroughly national type, while 'Dalibor' and 'Libusa' deal with
stirring episodes of Bohemian history.

More famous than his master is Smetana's pupil Dvorak (1841-1904), yet
the latter seems to have had little real vocation for the stage. His
operas, 'Der Bauer ein Schelm' and 'Der Dickschaedel,' appear to follow
the style of Smetana very closely. They have been favourably received in
Bohemia, but the thoroughly national sentiment of the libretti must
naturally militate against their success elsewhere.

In Russia the development of opera, and indeed of music generally, is of
comparatively recent date. Glinka (1803-1857), the founder of the
school, is still perhaps its most famous representative, although his
operas, in spite of frequent trials, seem never to succeed beyond the
frontiers of Russia. The splendid patriotism of 'Life for the Czar'
(1836), his most famous work, endears him to the hearts of his
countrymen. The scene of the opera is laid in the seventeenth century,
when the Poles held Moscow and the fortunes of Russia were at the lowest
ebb. Michael Fedorovich Romanov has just been elected Czar, and upon him
the hopes of the people are centred. The Poles are determined to seize
the person of the Czar, and some of them, disguised as ambassadors,
summon the peasant Ivan Sussaninna to guide them to his retreat. Ivan
sacrifices his life for his master. He despatches his adopted son to
warn the Czar, and himself leads the Poles astray in the wild morasses
of the country. When they discover that they have been betrayed they put
Ivan to death, but not before he has had the satisfaction of knowing
that the Czar is in safety. The opera ends with the triumphal entry of
the Czar into Moscow.

'Russian and Ludmila' (1858), Glinka's second work, is founded upon a
fantastic Russian legend of magic and necromancy. It has not the
national and patriotic interest of 'Life for the Czar,' but as music it
deserves to rank higher. Berlioz thought very highly of it. Nevertheless
it may be doubted whether, at this time of day, there is any likelihood
of Glinka becoming popular in Western Europe. Glinka had an
extraordinary natural talent, and had he liv