Had Chopin gone to Italy his playing would undoubtedly have captivated a people so sensitive to artistic beauty, and it is possible that the voice of praise might have rendered him insensible to other influences; but as a mere listener he had been learning to admire, and criticise the achievements of others. Mozart, to whom Chopin looked up with reverence, had visited Italy when fourteen years of age, and won great triumphs as a pianist, but as soon as he had heard the glorious voices and perfect vocalization of the operatic singers, he felt stirred by the desire of writing an opera. In 1770, he composed “Midritate Rè di Ponta,” and the success of this work made him resolve to devote his energies thenceforth more especially to the stage. In no other country could a composer attain such operatic triumphs; the report of a new and well-received opera ran like wild-fire from town to town, and the fame of a young composer spread from the Italian cities over the whole world. Meyerbeer also began his career as a pianist, and as such achieved a brilliant success. Salieri, hearing him improvise at Vienna, at once discerned his ability, and said to him, “What are you going to do? Go to Italy, and study the operatic style, and the Italian method of singing.” Through the influence of his wealthy family, Meyerbeerʼs first operatic attempts had been produced at the Royal Theatre in Berlin, but had excited little interest. To the somewhat dispirited young writer, Salieriʼs advice seemed very acceptable. He acted upon it, and when he had been some months in Milan, wrote an operetta, which had a very favourable reception. After an interval of a year he produced the “Crociato in Egitto,” which carried the name of Meyerbeer all over Italy. Although not quite twenty years of age, the doors of the Royal Academy of Music in Paris were opened to him, and they were the key to those of the entire musical world. Many of Chopinʼs friends and admirers used to say, “Our Frederic will do likewise, and become a first rate operatic composer.” For him, however, a different though a still splendid destiny was in store. The non-fulfilment of these expectations, to which his rare musical gifts had given rise, may be explained by external circumstances. [Sidenote: WHY HE DID NOT WRITE AN OPERA.]