The headquarters of such a company would, naturally, be in London, but an "operatic season" should be arranged for in the principal cities of the provinces. The financial question naturally obtrudes itself, but I believe that a solution of the question is not beyond the wit of man to devise. One thing is very certain, and that is the impossibility, under such a scheme, to pay the principal artists inflated salaries such as are in constant evidence to-day. In this respect it could not compete either with such an institution as the Royal Opera, with its exclusive and wealthy patrons, or the theatres producing light operas that enjoy runs of two years' or more duration. On the other hand, the performances would have to be, if ultimate success were the sole end in view, on a higher level of all-round excellence than any that have been seen in recent years.[30] Under some such conditions as these, there would seem to be nothing irrational in asking for government aid. To have any national significance, the people, generally, must be attracted, and that object would, naturally, be the main thought of the officials, should such a desirable state of things ever come to pass. The building of a beautiful theatre in London, and the establishing therein of an excellent company of foreign artists, with the view of producing foreign works in various languages, is, however interesting to the musical enthusiast, and courageous of the impresario in making such a venture with reduced prices of admission to the performances, of no national significance whatever. The experiment will, doubtless, prove whether a sufficiently numerous body of opera lovers, native and foreign, can be found in the metropolis to permit of its success. That is all. Thanks, nevertheless, the most cordial and ungrudging, are due to Mr. Hammerstein for the boon he has offered to the dwellers in London. The thoughts, however, of all Englishmen who are interested in the music of their country, must necessarily turn to native product. So far as opera is concerned, it is clear that there is much spade work to be done. There is, however, in reality, no evidence to show that, granted circumstances were favourable, the old-time love of it, or such forms of it as were in existence centuries ago, is incapable of resurgence. All that seems wanting, is the hour and the man. At present, it cannot be said that the outlook, from the national point of view, is very hopeful. Unless the native composer can see some definite reward for his labour, it is scarcely to be expected that he should devote his genius and energies to the composition of a work that may, perhaps, take the greatest part of his time for a year or more. And yet no return, in the least degree equivalent to the labour expended, could be looked for as things are now.