At the present time, the Carl Rosa company, the Moody-Manners company, so intimately associated with the triumphs of Madame Moody, and the "J. W. Turner" company, are all carrying on the good work, so it would be premature to write fully as to their undertakings. It is sufficient to say that each one carries on the work of education after its own methods, and doubtless with equal effect. I will now continue the consideration of fundamentally vital influences that have affected the position as it remains to-day. The man who, in modern times, most nearly reached the point of founding an English school of opera was, without question, the late Carl Rosa. This distinguished musician was a German by birth, who, after a prolonged visit to America, where he married the great singer Madame Parepa, came to London in 1874. He immediately commenced preparations for the formation of a company of English singers, with a view to give performances of opera in the English language. The lamentable death of his wife soon after their settling in England, on whose aid he had so greatly counted, and whose enthusiasm for the project was very pronounced, naturally delayed its execution. However, in the following year he opened at the Princess Theatre with Mr. (now Sir) Charles Santley and Miss Rose Hersee as his leading performers. The fact of the season lasting two months, was evidently sufficient to convince him that he had good reason to believe in the ultimate success of his idea, for he at once arranged for a session of longer duration in the following year. His ambition was not confined, however, to simply give operatic performances in English: he had the greater one, should his venture prove successful, to invite British composers to write works for him, and thus make his enterprise a thing of permanent national importance. That he failed in his splendid effort was no fault of his own, or those surrounding him. As time went on, he gathered together a band of devoted and enthusiastic artists, many of whose names spring vividly to the memory. Alwina Valleria, Julia Gaylord, Georgina Burns, Josephine York, Joseph Maas, J. W. Turner, Barton McGuckin, Ben Davies, Leslie Crotty and William Ludwig, in addition to the two distinguished singers already mentioned, were among them, and supply more than sufficient evidence of the powerful combinations he had at his disposal for the interpretation of any work he might decide to produce. Few, for example, who had the good fortune to hear Madame Valleria and Mr. Ludwig as "Senta" and "Philip Vanderdecken" in Wagner's "Flying Dutchman," could ever forget the experience. Carl Rosa, then, gave British composers their chance, under circumstances that could hardly be more favourable. And yet, of the many of such operas as he produced, there is not a single one that is now anything more than a memory.