Boito, whose ideas and principles are very advanced in music, as in literature, put himself at the head of the Wagnerian party in Italy. He was one of the most ardent in sustaining and spreading in his country the doctrines of the German master, being aided at Milan by the musical critic of the _Perseveranza_, Filippo Filippi, who died some years ago, and at Rome by Sgambati, a remarkable pianist and composer, and one of the most distinguished artists of his country. In order to accelerate as much as possible the movement which was manifesting itself in Italy in favor of Wagner, Boito did not hesitate to make a translation of his works. To him is due the Italian adaptation of _Rienzi_, performed at Turin in 1882, and that of _Tristan and Isolde_. He had not given up, however, appearing again himself as a composer, and he had written the libretto of a lyric drama entitled _Nerone_, for which he also wished to compose the score. But at least ten years have slipped by since this work was first spoken of, the newspapers announcing each year that it is about ready for representation, and nothing has been seen of it yet. So the Italian critics make much sport of Boito and his long promised work. However, while waiting for _Nerone_ to be finished, Boito has written for Verdi, who has a very deep affection for him, the librettos of two great works, one of them dramatic, the other comic, the subjects of which he has borrowed from Shakespeare. The first is _Otello_, which has been so successful for a number of years, and which Verdi did not hesitate to attempt after Rossini; the second is _Falstaff_, of which the master has finished the score, and which is to be performed in the near future at the Scala, Milan.