=65. Opera Performers.= The first opera of modern times was performed about the close of the fifteenth century. At the first introduction of the opera into France and England, it was much ridiculed by wits and critics. Voltaire, however, and others, came to its rescue, and with what success may be known, when it is acknowledged to be one of the favorite amusements of the fashionable world. The want of adaptedness of the opera to the English language has to a great extent excluded successful efforts at translation. Yet some operas have of late years been performed in English. "In Paris, the Italian opera is patronized by the Government, as a school of vocal music; and the managers are careful to maintain a complete and skilful company." In an opera, the music is the most important part, while at the theatre the music is subordinate to the play. The orchestra in some parts of the opera accompanies, and, in others, seems to respond to the sentiments of the piece. The operatic performance is not so warm, so impassioned, so abandoned, as that of the theatre. The trilling and sudden starting, so common in operas, is rather too artificial to please the unsophisticated. A conversational style is seldom used, but the words are expressed in a recitative style that is graceful and effective. In Germany, however, dialogue has been introduced. Good imitative powers are essential to success. The noble talent of music has been desecrated, in some operas, by the impure thoughts and language expressed. In the United States probably not more than thirty, out of the entire audience of several hundred, sufficiently understand the Italian, to follow the play without considerable effort; but it is so much of a pantomimic character that much is gained by the sense of sight. Much of the zest and interest are lost to those who are indifferent to the accessories. On this account, we suppose it can never become a favorite amusement with the generality of people. The French papers give some curious statements in regard to the salaries paid to great musical artists. We learn that Hummel left a fortune of $75,000, and twenty-six diamond rings, thirty-four snuff boxes, and one hundred and fourteen watches, which had been presented to him at various times. In modern days musicians are quite as extravagantly paid. Alboni and Mario get $400 every night they sing; Tamberlik, every time he sings a certain high note, demands $500; Madame Gazzaniga was paid $500 a night recently in Philadelphia; Lagrange, at Rio Janeiro, is now receiving a princely salary; and Piccolomini cost her manager over $5,000 a month; and these prices are said to be moderate, compared with those often paid in Europe to distinguished musical artists. At the opera house in Paris, for the present season, Mr. Colzado, the manager, pays as follows: to Tamberlik, for seventeen representations, $8,000; Alboni, $2,200 for seven representations; Mario, $15,000 for a season of five months;