followers, wherefrom they learnt that the Russians, though musically gifted, were only represented by incapable amateurs. Happily for its own enjoyment, the world has grown wiser. The last few years have witnessed the vindication of Moussorgsky's genius in France and England; a consummation devoutly wished, but hardly anticipated, by those who had been convinced from the beginning of the nobility and sincerity of spirit and motive which entitles his two finished operas to be regarded as masterpieces. During Sir Joseph Beecham's season of Russian Opera at Drury Lane last year, Rimsky-Korsakov's early music-drama _Ivan the Terrible_ ("The Maid of Pskov") made a profound impression, with Shaliapin in the part of the tyrant Tsar. In the forthcoming season it is Borodin's turn to be introduced to the British public, and I confidently predict the success of his lyric opera _Prince Igor_. So, one by one, these Russians, "eaters of tallow candles, Polar bears, too long consumers of foreign products, are admitted in their turn in the character of producers."[1] In view of the extended interest now felt in Russian opera, drama and ballet, it has been thought worth while to offer to the public this outline of the development of a genuine national opera, from the history of which we have much to learn in this country, both as regards the things to be attempted and those to be shunned. Too much technical analysis has been intentionally avoided in this volume. The musician can supply this deficiency by the study of the scores mentioned in the book, which, dating from Glinka's time, have nearly all been published and are therefore accessible to the student; the average opera-goer will be glad to gain a general view of the subject, unencumbered by the monotonous terminology of musical analysis. CONTENTS CHAPTER I THE DAWN OF MUSIC IN RUSSIA .....PAGE Primitive music of the Russian Slavs. The four periods of Russian music. The Skomorokhi or Gleemen. Clerical Intolerance. Church pageants. Tsar Alexis Mikhaïlovich, the first patron of music and the drama. Biblical plays with incidental music. Mystery plays of Dmitri of Rostov. Origin of the Ballet. First public theatre in Russia, 1703......1 CHAPTER II THE RUSSIAN OPERA PRIOR TO GLINKA Accession of Empress Anne. Cultivation of the folk melodies. Change of taste. The Italians bring in secular plays. Feodor Volkov. Music under Catherine the Great. Fomin and his operas. Berezovsky and Bortniansky. Further change of taste under Alexander I. Patriotic enthusiasm following French invasion of 1812. Cavos exploits national melody. Verstovsky and Alabiev......32 CHAPTER III MICHAEL IVANOVICH GLINKA Childhood and education of Glinka. His awakening to music. Early years in the country. Love of nature. First music lessons. He enters the Civil Service. Begins to write songs. Visit to Italy. Musical studies in Berlin......69 CHAPTER IV GLINKA'S OPERAS