A more mature work is _Harold_, an opera in five acts, or nine scenes, first performed in St. Petersburg in November, 1886, with every possible advantage in the way of scenery and costumes. Vassilievich, Melnikov and Stravinsky took the leading male parts; while Pavlovskaya and Slavina created the two chief female characters. The success of the opera was immediate, the audience demanding the repetition of several numbers; but it must have been to some extent a _succès d'estime_, for the work, which is declamatory rather than lyrical, contains a good deal of monotonous recitative and--because it is more modern and Wagnerian in form--the fine choral effects which lent interest to Napravnik's first opera are lacking here. In 1888 _Harold_ was given in Moscow and Prague. Napravnik's third operatic work, _Doubrovsky_, was produced at the Maryinsky Theatre in 1895, and soon travelled to Moscow, and the round of the provincial opera houses, finding its way to Prague in 1896, and to Leipzig in 1897. The libretto by Modeste Tchaikovsky, brother of the composer, based upon Poushkin's ultra-romantic Byronic tale "Doubrovsky" is not very inspiring. Such dramatic and emotional qualities as the story contains have been ruthlessly deleted in this colourless adaptation for operatic purposes. The musical material matches the book in its facile and reminiscent quality; but this experienced conductor writes gratefully and skilfully for the singers, the orchestra being carefully subordinated to vocal effects. Interpolated in the opera, by way of a solo for Doubrovsky, is a setting of Coppée's charming words "Ne jamais la voir, ni l'entendre." Napravnik's fourth opera, _Francesca da Rimini_, is composed to a libretto by E. Ponomariev founded on Stephen Phillip's "Francesca and Paolo." It was first presented to the public in November 1902, the leading parts being created by that gifted pair, Nicholas and Medea Figner. Less popular than _Harold_ or _Doubrovsky_, the musical value of _Francesca_ is incontestably greater. Although the composer cannot altogether free himself from the influence of Wagner's "Tristan und Isolde," the subject has inspired him to write some very expressive and touching music, especially in the scene where the unhappy lovers, reading of Lancelot, seal their own doom with one supreme and guilty kiss; and in the love duet in the third act. Besides these operas, Napravnik composed a Prologue and six choral numbers for Count Alexis Tolstoy's dramatic poem "Don Juan."