It is difficult to get from Puccini any particulars of his ideas and aims. He much prefers to do things rather than to talk about them. He has on one or two occasions, however, given a hint of his views which may be worth putting down again. One is on the interesting question as to dramatic instinct in music. Puccini maintains that it is a question not of instinct but experience. He says himself that his early works were lacking in dramatic quality, but he does not agree that if it is not inborn it cannot be developed. He maintains that the choice of librettos has more to do with it than anything else, and from the first he has worked a good deal in this way by more than the usual amount of consultation and exchange of ideas that goes on between a composer and the writer of the book. Marie Antoinette, at the time when I had the pleasure of talking with him, was the subject for an opera which was, at least, uppermost in his mind. "But I have thought of many subjects and stories," he said. "La Faute de l'Abbé Mouret and the Tartarin of Daudet are two well-known ones. The latter is pure fun, but I have always thought, when coming to the point, that I should be accused, if I set it, of copying Verdi's _Falstaff_. The former, I believe, Zola promised to Massenet. I have also thought of Trilby; and several excellent themes for plots could be gathered from the stories of the later Roman Emperors." One statement at least was very characteristic of Puccini. "My next plot must be one of sentiment to allow me to work in my own way. I am determined not to go beyond the place in art where I find myself at home." Puccini is very fond of the theatre, and when last in London enjoyed the production of _Oliver Twist_--he is specially fond, in our literature, of Dickens--and _The Tempest_. IV "LE VILLI" The Dal Verme Theatre, where Puccini's first opera was produced, has been the scene of many experiments in the art of opera. More than one composer has been able to get a hearing there, if no more, and among the list of trials and experiments--the value of which taken as a whole will doubtless some day be accounted at their proper worth, and which still come out like shades of the night to remind us how little we appreciate native endeavour--are to be found the names of more than one English composer. Among the notable successes which have been first launched at this theatre is Leoncavallo's _I Pagliacci_. The cast and general production of _Le Villi_, as has been mentioned, was apparently more or less in the nature of a friendly "helping hand" held out to the unknown composer. The first performance was on May 31, 1884, and the cast as follows: _Anna_ CAPONETTI. _Roberto_ D'ANDRADE. _Guglielmo Wulf_ PELZ.