Supposing the government at any time, contemplated taking action in this direction, the first thing they would probably do, would be to appoint a Commission to enquire into the question. It is only natural to suppose that among the first of those whose opinions would be sought, the eminent writers on music in the principal journals of the country, would be conspicuous. In this case, it may be taken for granted that unanimity will not be the chief characteristic of their utterances. For instance, I cannot bring myself to think of Mr. Joseph Bennett, whose services to music in the columns of the "Daily Telegraph," for many years were so generally recognised, writing in such terms of Mendelssohn's violin concerto. The question teems with difficulties. One school of thought asks for opera given exclusively in the English language and performed, as far as possible by British artists. Another, for opera given in the language in which it was composed, and rendered by singers of the country it represents, or those competent to sing adequately in it. Again, some urge that there should be occasional performances of such simple works as Balfe's "Bohemian Girl," which the least musically educated would be able to appreciate; while others would ban such operas altogether, on the grounds that they are out of the spirit of the age, and that their representation would be sheer waste of time and opportunity. As an illustration of the absolutely divergent views on the subject held by authoritative opinion, I will make a quotation from the "Morning Post."[29] It was written with regard to the interesting experiment that Mr. Hammerstein is now making in his effort to popularise opera in England. "A cry has been raised that the performances should be in English. It shows a _lamentable ignorance_ (the italics are mine) of operatic conditions prevailing at the present time. It would be well-nigh impossible for Mr. Hammerstein to give his performances in English at an earlier date than six months from now. There is no lack of English singers, but those with sufficient experience of the stage at present available to carry on a regular series of performances, can be numbered on the fingers of one hand." If this opinion be justified, and I hope it is not, it suggests a sad commentary on the result of efforts made on behalf of operatic education in England from the time of Carl Rosa to that of Dr. Richter. It seems to me that if opera is to become a living force in English musical life, as oratorio has been, there are certain essentials that must obtain. In the first place the operas should be given in the English language, and the performers should be, as far as possible, of British race; the choice of works sufficiently eclectic to appeal to all classes, and the prices of admission to the performances, arranged on such a scale as not to be prohibitive to the average individual of more or less limited means.