Mr. Southard's opera is founded upon Beckford's Oriental tale, "Vathek," with such alterations as are necessary to adapt it for representation. We are told that the plot is full of dramatic situations, full of human interest, and that its scenes appeal to all the faculties, ranging through comedy, ballet, and melodrama, and leading to the awful Hall of Eblis at last. The principal characters are the Caliph Omano, _baritone_; Carathis, his mother, _mezzo soprano_; Hinda, a slave in his harem, _soprano_; Rustam, her lover, _tenor_; and Albatros, _basso_, a Mephistophelean spirit who tempts the Caliph on to his destruction. Selections were made from this opera, and were performed by resident artists, without the aid of stage effects or orchestral accompaniments. Only the music was given, with as much of the harmony as could be played on the grand piano by one pair of hands. There could be no severer test than this. The music is generally Italian in form, especially in the flowing grace of the _cantabile_ passages, and in the working up of the climaxes. But we did not hear one of the stereotyped Italian cadenzas, nor did we fall into old _ruts_ in following the harmonic progressions. The orchestral figures--the framework on which the melodies are supported--are new, ingenious, and beautiful. The duets, quartette, and quintette show great command of resources and the utmost skill in construction; we can hardly remember any concerted pieces in the modern opera where the "working up" is more satisfactory, or the effect more brilliant. How far the music exhibits an absolutely original vein of melody, it is perhaps premature to say. No composer has ever been free at first from the influence of the masters whom he most admired. To mention no later instances, it is well known that Beethoven's early works are all colored by his recollections of Mozart, and that his own peculiar qualities were not clearly brought out until he had reached the maturity of his powers. This seems to be the law in all the arts; imitation first, self-development and originality afterwards. Happy are those who do not stop in the first stage! It is certain that Mr. Southard's music _pleased_, and that some of the most critical of the audience were roused to a real enthusiasm. And it is to be borne in mind that the music is cast in a grand mould; it has no prettiness; it is either great in itself, or wears the semblance of greatness. On the whole, we are inclined to think that the "Diarist" in Dwight's "Journal of Music" was not extravagant in saying that no _first_ work since the time of Beethoven has had so much of promise as the opera "Omano." We shall look with great interest for its production upon the stage with the proper accompaniments and scenic effects. It is due to the composer that this should be done. If the music we heard had been performed by a company of great artists in the Boston Theatre or in the Academy of