receive it joyfully, no matter what nation it comes from or through what medium:--that is, if it is a good idea to begin with. Possibly this may be a little beside the point; but, at least, it serves to introduce the subject of English opera--or, rather, foreign grand opera given in English--the giving of which was an undertaking on which I embarked in 1873. I became my own manager and, with C. D. Hess, organised an English Opera Company that, by its success, brought the best music to the comprehension of the intelligent masses. I believe that the enterprise did much for the advancement of musical art in this country; and it, besides, gave employment to a large number of young Americans, several of whom began their careers in the chorus of the company and soon advanced to higher places in the musical world. Joseph Maas was one of the singers whom this company did much for; and George Conly was another. The former at first played small parts, but his chance came to him as Lorenzo in _Fra Diavolo_, when he made a big hit, and, eventually, he returned to England and became her greatest oratorio tenor. I myself made the versions of the standard operas used by us during the first season of English opera, translating them newly and directly from the Italian and the French and, in some instances, restoring the text to a better condition than is found in English opera generally. My enterprise met with a great deal of criticism and discussion. Usually, public opinion and the opinion of the press were favourable. One of my staunch supporters was Will Davis, the husband of Jessie Bartlett Davis. In _The Chicago Tribune_ he wrote: Unless the public can understand what is sung in opera or oratorio recital, song or ballad, no more than a passing interest can be awakened in the music-loving public. I do not agree with those who claim that language or thought is a secondary consideration to the enjoyment of vocal music. I believe that a superior writer of lyrics can fit words to the music of foreign operas that will not only be sensible but singable. I agree with _The Tribune_ that opera in the English language has never had a fair show, but I claim that the reason for this is because of the bad translations that have been given to the artists to sing. After our success had become assured, one of the press notices read: