The question of adequate financial support for opera is not easily solved. There is much discussion of a Ministry of Fine Arts in Washington, and of the possibility of government subsidies for various types of musical enterprise. Some of the discussion has ignored matters involving American politics, and which contain many a snare. Governmental subsidies for the arts on the European continent date back to the pre-Revolutionary era, and carry on a long tradition in which cultural matters for the most part were kept out of politics. At the moment it seems Utopian to think that such a state of affairs could be easily achieved here at the expense of the ever-vigilant taxpayer. If subsidies, at least those at the Federal level, do not seem likely or wholly desirable at the present time and under present conditions, solutions must be sought elsewhere--in municipal or state subsidies, or in large foundations. For the moment we must content ourselves with and draw encouragement from the great variety and vitality of the various forces which flourish and prosper luxuriantly throughout our music life. It is difficult to believe, in view of all these impulses and purposeful activities, that ultimately a solution should not be found. V We have attempted to show that the business mentality that directs so many of our musical institutions fosters an economy of scarcity as regards talent and repertory. We have tried to show how it tends drastically to restrict opportunities for young artists and their careers and to limit repertory. The aim of a cautious policy, as we have stated, is to satisfy the immediate wishes of the greatest possible number of listeners. To maintain prices, as well as the prevalent values, as high as possible, the tendency is, among other things, to restrict the number of goods for “sale.” Curiously enough, the effect of this business point of view in radio and with respect to phonograph and recordings is quite different. No doubt the business mentality is as predominant here as it is in the concert and opera business. In radio and recordings, however, it fosters an economy of abundance. One may guess why it works that way. Fewer, not more recordings would be sold if the output were restricted to performances by celebrities, even if they were more highly priced. In view of the nature of the product, the policy must be to sell as many recordings as possible. To that end, policy will always center on variety of both performances and works performed. In the service of an economy which favors expansiveness and flexibility, it is also necessary to maintain an even higher degree of technical perfection. The result is that there is already available a large and representative selection of recordings of music from every period, including our own. This repertory is steadily growing larger.