In 1834 John Barnett produced his “Mountain Sylph,” the first important English opera in the strictly modern style of that age, and one which introduced the school typified by Balfe, Wallace, and Macfarren. Italian influence was evident, and has only lately been supplanted by the power of Germany, and, in one or two noteworthy instances, by the graceful delicacy of the French school. But the time for English opera is ripe; we have watched the dangers into which other schools have fallen; we have seen their heroes extricate them from those dangers; we have learnt what reforms are needful; the generous support and encouragement which has assisted the Italian, French, and German schools should now place all mercenary consideration on one side, and extend itself freely to those native artists who, in a spirit of true patriotism, are striving for the reputation and artistic honour of our country. To Handel we owe the final settlement of Italian opera in London, for which end he composed over forty operas, none of which are remembered, but from whose pages the good numbers were extracted and transferred to his oratorios! Comic opera, originating in Italy and developing in France, had, and still has, some footing in England. A very successful specimen was “The Beggar’s Opera,” performed in 1728 at Rich’s Theatre, in Lincoln’s Inn, with a libretto by Gay. So enormous was its success, that people said, “It made Gay rich, and Rich gay!” From this and following successes arose the ballad opera, a form of comic opera taken up by the best composers. “The Duenna,” music by Linley, words by Sheridan (Linley’s son-in-law), may be quoted as an excellent specimen. Finally the wealth of England has been able to procure and import the finest foreign works and artists, and its riches have assisted in impoverishing what little native art we possessed. For the last part of my sketch I have reserved German opera. Although Italian opera soon worked its way into Germany, in fact, as early as the year 1627, when we reach the end of our story, we shall find the Germans in possession of the most advanced form of modern drama. Heinrich Schütz set the first opera to music. It was Rinuccini’s “Daphne,” already set by Peri in Florence. Italian style and Italian vocalists reigned supreme until the time of Gluck, with such exceptions as the Hamburg operas of Keiser and Handel, which contained German characteristics, and also the attempts on the part of Hasse, Graun, and Naumann to combine Italian and German qualities.