recently adapted to the English stage; but how is it that the old "hacknied" music of the Italians should be preferred to the novelties of our native school? Here again the public taste has advanced too fast, and, owing to the inferiority of our home productions, the foreigner has gained possession of the market.[2] Where is the remedy for this unfortunate state of things? Some master-mind, some musical Napoleon, _may_ rise up and take the world by storm; but such an event is particularly unlikely now. The hour generally makes the man, and the necessities of the moment often call forth talents and energies, the existence of which was wholly unsuspected by their possessors. For aught we know, many a hero may be now among the ranks, and many a gallant officer now before the mast, undistinguished from lack of opportunity, unknown because circumstances have not developed his dormant powers. How then can the hour be hastened, and the opportunity of developing our musical powers be afforded? The answer is, by the establishment of a National Opera. It has been observed that every nation that has risen to musical greatness, possesses a musical opera. Even the French, who, according to Mr Hullah, "have the least possible claim to a high musical organization," have, nevertheless, long possessed a national opera, boasting the best orchestra in Europe, and producing masters whose works have been successfully transplanted, and singers who have met with universal admiration. At the present moment, Paris has two national musical theatres, the _Académie Royale_, and the _Opera Comique_: and the establishment of a third is said to be in contemplation. The possibility of forming such an establishment at the present time in England, may be reasonably called in question. The attempt made some ten years ago, though commended by the minister of the day, was signally abortive; and the subsequent endeavour of a popular musician to open a theatre for the performance of English operas, was equally futile and unsuccessful. One thing of primary importance--the patronage of the higher classes--was wanting to both these efforts. Were the stamp of fashion once impressed upon such an undertaking, success would be certain, did the _fiat_ of the great world once go forth, the thing would be accomplished. The marvellous impulse recently given to musical instruction throughout the kingdom, shows the vast power, for good, possessed by the higher classes of aristocratic England. We have often lamented the apathy of the fashionable world on this subject, and we can entertain no hope of aristocratic support and encouragement for the English opera. There may, however, be some hope, though faint and distant, for our musicians. In consequence of a national musical education, a national opera may become a national want; and we can scarcely conceive it possible, that the wide diffusion of musical taste and knowledge should fail ultimately, to produce a large and