The achievement of a genuine “national style” in any sphere whatever depends on something deeper than evocation, nostalgic or otherwise; and if what one seeks is timeliness, machines, ocean liners, or nightclubs on the stage do not suffice. What is required is _drama_, felt and communicated, whether it be comedy or tragedy; and this, if it is real, _becomes_ both contemporary and national--just as _Julius Caesar_ is both English and Elizabethan, and _Tristan_ neither Irish nor medieval. So far as this author knows, no one has thought of reproaching Verdi for having written Egyptian, Spanish, French, or English--even American--opera in the various instances which come to mind. It is a heartening sign that American opera composers of today seem to be fully aware of this problem, however they differ as to outcome. In any case, this is the central problem of American opera. How can one hope for the growth of an American opera tradition under the conditions prevailing in our established operatic institutions, and in view of the fact that throughout the country there are only three or four which continue to exist, and those not on a desirable economic basis? One must insist once and for all that a vital American music life cannot be confined to the established conventions of concert and opera. We have already given attention to radio and recordings, which play so decisive a role, and interest us for manifesting sharp contrasts with features discussed in connection with concert and theater. Later comment is reserved for what may well be regarded as the most noteworthy aspect of American music life today: the multitude of impulses all over the country, the yearning for musical experience our concert and opera life does not offer. These impulses center largely in educational institutions--in schools, conservatories, and universities. Above all, one here finds the beginnings of what may be called a different mode of opera life. In an already considerable and ever-increasing number of schools and opera departments, problems of opera production are being studied, with an undaunted willingness to experiment and, if necessary, even to fail, and with a vitality which amazes all who have the opportunity to watch it closely. At least one happy result has manifested itself, even within the framework of music life. It has shown Americans that satisfying results can be obtained in the operatic field without recourse to the luxury of stellar personalities or sumptuous modes of production. Notably at the City Center Opera in New York--an offshoot, in a sense, of the opera department of the Juilliard School--some performances provided even valid competition in quality of ensemble and vitality of interpretation to identical works at the Metropolitan.