The particular and very uncertain success of Mascagni's second opera, "Amico Fritz," was a great disappointment to those who had looked upon the young author as a coming king in the realm of opera. But the great triumph of his third work, "I Rantzau," produced at Florence in November, 1892, has revived the hope that Mascagni is not merely a lucky child of fortune, but that he possesses an out-spoken musical and dramatic individuality. That he is only an opera composer is beyond a doubt. The sudden changes in stage situation, the sharp contrasts, and, above all, the musical scene-painting which he does with coarse but sure brush, these are factors whose fitness to the genius of Mascagni stamps him as wholly in the trend of his theatrical talent. The chief significance of the new opera, "I Rantzau," lies, in our opinion, in the fact that Mascagni has at last composed something which seems to be the product of a personal and characteristic style. There are two other composers whose reputations are still young, one of whom, Giordano, has been brought to public attention through the Sonzogno competition. The other, Leoncavallo, a man of literary as well as musical gifts, was able to choose the most practical way of introducing himself as an operatic composer, by paying the expenses of the performance of his opera, "I Pagliacci," at the Teatro del Verme in Milan. The work had an almost unparalleled success. We may well believe that this opera will, in the course of time, enjoy even greater popularity than attended its fortunate twin sister, "Cavalleria Rusticana." Leoncavallo himself wrote the text of his opera. Giordano treated another sketch of the Verga collection. In this work, "Malavita," he displays all the qualities required by an operatic composer--rapid musical development, broadly melodious phrasing, great variety of coloring, and vivid, sparkling rhythm, both in vocal and instrumental writing. There is every hope that Giordano, if his further artistic and musical development should fully realize its brilliant promise, may one day rank among the most prominent of Italian stage composers. But neither Mascagni nor Giordano can reach the surprising and striking originality found in Leoncavallo's "Pagliacci." W. von Sachs, a well-known New York critic, attended in Vienna a performance of "Pagliacci," and we have from him the opinion that Ruggero Leoncavallo may be called the head of the new Milanese school of composers. The plot, founded partly on the "Drama Nuevo" of Estibanez, and in its essential details not unlike the French play "Tabarin," presents the oft tried experiment of a play within a play. The hero is a mountebank who, deceived by his faithless wife, enacts in earnest the mimic scenes of jealousy. The principal characters, five in number, as in the "Cavalleria," belong, with one exception, to a company of strolling players, who, in the typical roles of the old Italian