G. A. Kazachenko (b. 1858), of Malo-Russian origin, has written two operas: _Prince Serebryany_ (1892) and _Pan Sotnik_ (1902),[53] which have met with some success. A. N. Korestchenko, the composer of _Belshazzar's Feast_ (1892), _The Angel of Death_ (Lermontov), and _The Ice Palace_ (1900). N. R. Kochetov, whose _Terrible Revenge_ (Gogol) was produced in St. Petersburg in 1897; and Lissenko, sometimes called "the Malo-Russian Glinka," the composer of a whole series of operas that enjoy some popularity in the southern provinces of Russia. This list is by no means exhaustive, for the proportion of Russian composers who have produced operatic works is a striking fact in the artistic history of the country--a phenomenon which can only be attributed to the encouragement held out to musicians by the great and increasing number of theatres scattered over the vast surface of the Empire. As we have seen, all the leading representatives of Russian music, whether they belonged to the nationalist movement or not, occupied themselves with opera. There are, however, two distinguished exceptions. Anatol Constantinovich Liadov (b. 1855) and Alexander Constantinovich Glazounov (b. 1865) were both members, at any rate for a certain period of their lives, of the circles of Balakirev and Belaiev, but neither of them have shared the common attraction to dramatic music. Glazounov, it is true, has written some remarkably successful ballets--"Raymonda" and "The Seasons"--but shows no inclination to deal with the problems of operatic style. The "opera-ballet," which is not--what at the present moment it is frequently being called--a new form of operatic art, but merely the revival of an old one,[54] is engaging the attention of the followers of Rimsky-Korsakov. At the same time it should be observed that the application of this term to _A Night in May_ and _The Golden Cock_ is not sanctioned by what the composer himself has inscribed upon the title pages. At the present time the musical world is eagerly expecting the production of Igor Stravinsky's first opera _The Nightingale_. This composer, by his ballets _The Bird of Fire_, _Petrouchka_, and _The Sacrifice to Spring_, has worked us up through a steady _crescendo_ of interest to a climax of curiosity as to what he will produce next. So far, we know him only as the composer of highly original and often brilliant instrumental works. It is difficult to prophesy what his treatment of the vocal element in music may prove to be. The work is in three acts, based upon Hans Andersen's story of the Emperor of China and the Nightingale. The opera was begun several years ago, and we are therefore prepared to find in it some inequality of style; but the greater part of it, so we are told, bears the stamp of Stravinsky's "advanced" manner, and the fundamental independence and novelty of the score of _The Sacrifice to Spring_ leads us to expect in _The Nightingale_ a work of no ordinary power.