Every one engaged to carry out the great scheme was new to such work. Sir Arthur Sullivan, whose "Ivanhoe" was to inaugurate the attempt, was writing his first grand opera; the artistes chosen for its performance were all with one or two exceptions, without any previous experience of it; the musician selected as musical director had never previously conducted a grand opera, and the stage manager had never produced one. But perhaps the most extraordinary thing of all, and the idea was most assuredly new, was to start such a scheme with only one opera, and no definite decision as regards a second. If this were not tempting the Fates, it is difficult to know what would be. At any rate, the Fates did not leave the issue long in doubt. The immense popularity Sir Arthur Sullivan enjoyed, not only on account of his delightful comic operas, but of his splendid work in other and more serious directions, stimulated public interest, and the production of "Ivanhoe" was awaited with feverish expectation. Never, it can be truly said, did the Press greet a new venture with greater warmth and enthusiasm. Columns of anticipatory notices were devoted to it, many bearing additional weight by being signed by the writers, and even leading articles in the foremost journals of the country, lending encouragement to the enterprise, went to mark the serious mind in which it was regarded. At last, the eventful night arrived, and the opera was produced under conditions that could hardly have been rendered more favourable. The reception of the work by the Press and the public was scarcely identical. By the former it was generous, although naturally, critical, the evident uneven merit it exhibited being insisted on; but, on the whole, it was decidedly encouraging, although not so enthusiastic as its admirers would have wished. Time, however, has justified the critics. By the people it was accepted whole-heartedly, as may be judged by the fact that its run extended to 168 consecutive performances. It is true that during the last two months, financial loss was experienced, but at the end of the first hundred nights, notwithstanding the expense of the production, which was exceptionally heavy, there was a balance to the good. It may be mentioned that this constitutes a record in the history of grand opera. The public were quick to recognise the beauty of much of the music, and its dramatic power, while they were delighted, and perhaps surprised, by the fine acting that accompanied the superb singing of several of the principals. The universal acclamation of the splendour of the production was a tribute, well deserved, to the genius of Mr. Hugh Moss. Of the artists who achieved distinction in this memorable production, the name of the late Eug[e']ne Oudin, stands out pre-eminently. His rendering of the part of the Templar, being not only masterly, but instinct with genius.