Produced by Barbara Kosker and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) THE OPERATIC PROBLEM By W. JOHNSON GALLOWAY, M.P. [Illustration] London John Long 6 Chandos Street, Strand 1902 Preface Last autumn, having to speak at an organ recital given by my friend Mr Clegg, I took the opportunity of giving what encouragement lay in my power, to the Corporation of my native town, in an endeavour they had made during the summer months to provide suitable music in the various parks throughout the city. To my great surprise that speech was quoted in journals, of all shades of opinion, in the country, and brought me also a vast correspondence. A copy of the speech will be found at the end of this book. As I have long desired that Opera should be placed within the reach of those, whose purses are not able to bear the strain of the high prices charged in England, and having some leisure before Parliament met this year, I made inquiries regarding the various systems of running Opera on the Continent of Europe. I obtained a vast mass of most interesting information. How to make the best use of that information was my difficulty. It was much too bulky to compress into the narrow limits of a magazine article, and besides, much of it had no peculiar interest for us in this country. My chief desire was to put it before the public in a form that would arouse interest in the subject. Also, I realised that this information, however valuable, was like the desert, in its unwieldy form, and without any attempt to outline the conclusion to which it led. So after much trepidation of thought I determined to run the gauntlet and march right up to the cannon's mouth with a scheme of my own for the establishment of a system for National Opera in this country. This little book is the result of my efforts, and though I do not pretend that it offers a complete solution of the question, still less that it gives a _coup de grace_ to the schemes of those who have trodden the same path before me, I do hope it may help to call into existence some plan for the foundation of Opera upon a popular basis. To my critics--and many I shall have--I venture to say that, however much they disagree, they should remember I lay no claim to completeness, and I will gladly welcome any suggestions thrown out with a real desire to perfect my very imperfect ideas. But there are two forms of criticism I wish to meet in advance.