More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . byMr. Hammersteins people at the Manhattan Opera House.To the subscribers Rheingold, which this year found it-self in the subscription list for the first time since theGerman regime, was quite as much of a novelty. A longlapse of time between its first English production in NewYork and its revival in the original German version ofGoetzs Taming of the Shrew prevents that opera frombeing put in the same category. The only real noveltieswere the Russian opera

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More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . byMr. Hammersteins people at the Manhattan Opera House.To the subscribers Rheingold, which this year found it-self in the subscription list for the first time since theGerman regime, was quite as much of a novelty. A longlapse of time between its first English production in NewYork and its revival in the original German version ofGoetzs Taming of the Shrew prevents that opera frombeing put in the same category. The only real noveltieswere the Russian opera Prince Igor and the Spanish Goyescas. The conditions of the latter production wereso unusual that they can not form a precedent, nor is itlikely that the opera will be heard of again. With all thecharm of its Spanish dance rhythms it is too sadly lackingin dramatic quality to have vitality. It was a singular con-ceit that a set of pianoforte pieces might be transformedinto an opera by orchestrating them and imposing solo andensemble songs upon them. Liszt made symphonic poemsout of some of his pianoforte studies, but Senor Granadoss. Maria BarrientosAs Lakme BORODINS PRINCE IGOR 35i efforts went beyond that. Borodins Prince Igor warshandicapped by the success won by Boris Godounow, amuch finer work also inspired by the spirit of Slavic folk-song. Nevertheless it was well worth producing and wouldbe well worth preserving in the standard list of the Metro-politan Opera House if conditions were not those whichhave already been discussed, one of which compelled thisRussian work, like its companion, to be sung in Italianwhen common-sense suggested that if a translation must bemade it ought to be into English. The temporary loss of LAmore dei tre Re was deplorable and equally the cir-cumstance which brought it about. This was the illnessof Mile. Bori, who had rightly been hailed as a valuableacquisition to the Metropolitan forces by critics and publicalike. She represented the elemen