His fame depends solely upon the two operas, _La Vie pour le Tsar_ and _Russlan et Ludmille_. That he should have chosen to express himself especially in opera is a significant fact. The unerring instinct of his genius evidently told him that in this form, rather than in purely instrumental music, he would most truly represent that people whose musical aspirations he wished above all else to portray faithfully, and certainly in opera lay his surest way towards enlisting the sympathies of his compatriots. As before remarked, one might have imagined that opera would scarcely ally itself to his personal individuality; it seems probable, therefore, that various salient traits inherent in the Russians as a nation must have led him to the choice. First and foremost, any music which claims to proceed from the very heart of the Russian people must contain a vocal element. So universal a love of singing as exists throughout Russia is to be met with in no other country. By this one does not mean to infer that Russian cultivated singing, either solo or choral, is in any way superior to what is heard elsewhere. The Russian peasant knows absolutely nothing about voice production, nor, maybe, is he gifted with any unusual vocal material, nevertheless, singing is closely bound up with every rural event of his cheerless existence. During the last half-century many hundreds of the native melodies sung by the Russian country people for generations past have been collected and written down by different musicians--Balakireff, Rimsky-Korsakoff, Prokoudin, and Lisenko amongst others. The variety of these folk-songs is astonishing. They never become monotonous, each song having its distinctive climax, and the air always suits the words. Often the untutored singer has one melody in his _repertoire_, but intuitively he modifies its strains according to the sentiment of his subject.