In our consideration of the operas, from "Rappresentatione di Anima" to "Madeleine" we find the number of characters growing larger, the orchestra more complex and perhaps usurping more time, the solo work increasing considerably, recitative increasing, ensemble almost vanishing and chorus work reduced to a minmum. The opera of the future will be a medium between Wagner and Strauss, orchestral music drama, and the Debussy incidental music, and the melodiousness of the Italian school. The most vital music dramas of the day do not abandon nor drown out the voice, nor do they cast aside all musical connections, but combine orchestra, voice and dramatic action in an artistic way. APPENDIX OF TABLES. Table I. This table is general, comparing, by means of a percentage system, the amount of space devoted to the orchestra solo, recitative, ensemble and chorus work in the thirty-four operas considered. The date, name, composer, number of acts and number of characters is shown. Table II. This develops column "D" of table I and shows the first the entire number of characters, and then the number of sopranos, mezzo-sopranos, altos, tenors, baritones and bass in these same thirty-four operas. Table III. This table develops "F" of Table I showing the entire percentage of orchestration in each of the thirty-four operas, and further the division of this percentage into that devoted to overtures, ballets and interludes. Table IV. This table develops column "G" of Table I concerning solo works. The percentage of the entire solo work is given and this is then divided into the percentage devoted to that of soprano, mezzo-soprano, alto, tenor, baritone and bass. Table V. In this table column "H" of Table I is developed. A record is shown of the operas which contain accompanied and unaccompanied recitative of the thirty-four operas is shown, and this, in turn, is divided into that of soprano, mezzo-soprano, contralto, tenor, baritone and bass. Table VI. Column "I" of Table I is considered here. The entire percentage of ensemble work is shown, and this is divided into that of duets, trios, quartets, quintets and sextets. Table VII. This table develops column "J" of Table I and shows the percentage of the opera devoted to chorus work and further, the division into mixed chorus and men's and women's choruses. TABLE I. A B C D Date. Name. Composer. No. of Characters.