'Guillaume Tell' is not only indisputably Rossini's finest work, but it also give convincing proof of the plasticity of the composer's genius. Accustomed as he had been for many years to turning out Italian operas by the score--graceful trifles enough, but too often flimsy and conventional--it says much for the character of the man that, when the occasion arrived, he could attack such a subject as that of Tell with the proper seriousness and reserve. He took what was best in the style and tradition of French opera and welded it to the thoroughly Italian fabric with which he was familiar. He put aside the excessive ornamentation with which his earlier works had been overladen, and treated the voices with a simplicity and dignity thoroughly in keeping with the subject. The choral and instrumental parts of the opera are particularly important; the latter especially have a colour and variety which may be considered to have had a large share in forming the taste for delicate orchestral effects for which modern French composers are famous. 'Guillaume Tell' was to have been the first of a series of five operas written for the Paris Opera by special arrangement with the government of Charles X. The revolution of 1830 put an end to this scheme, and a few years later, finding himself displaced by Meyerbeer in the affections of the fickle Parisian public, Rossini made up his mind to write no more for the stage. He lived for nearly forty years after the production of 'Guillaume Tell,' but preferred a life of ease and leisure to entering the lists once more as a candidate for fame. What the world lost by this decision, it is difficult to say; but if we remember the extraordinary development which took place in the style and methods of Wagner and Verdi, we cannot think without regret of the composer of 'Guillaume Tell' making up his mind while still a young man to abandon the stage for ever. Nevertheless, although much of his music soon became old-fashioned, Rossini's work was not unimportant. The invention of the cabaletta, or quick movement, following the cavatina or slow movement, must be ascribed to him, an innovation which has affected the form of opera, German and French, as well as Italian, throughout this century. Even more important was the change which he introduced into the manner of singing _fioriture_ or florid music. Before his day singers had been accustomed to introduce cadenzas of their own, to a great extent when they liked. Rossini insisted upon their singing nothing but what was set down for them. Naturally he was compelled to write cadenzas for them as elaborate and effective as those which they had been in the habit of improvising, so that much of his Italian music sounds empty and meaningless to our ears. But he introduced the thin edge of the wedge, and although even to the days of Jenny Lind singers were occasionally permitted to interpolate cadenzas of their own, the