But however dull the subject of _Feveï_ may appear to modern opera-goers, that of Paskievich's third opera, _Fedoul and Her Children_, must surely take the prize for ineptitude even among Russian operas of the eighteenth century. Fedoul, a widow, announces to her fifteen grown-up children her intention of getting married again to a young widower; at first the family not unnaturally grumble at the prospect of a step-father, but having been scandalised by the marriage with the prince in the first act, they solemnly sing his praises in the finale of the last. In co-operation with Sarti and Canobbio, Paskievich composed the music to another book by the Empress Catherine, entitled _The Early Reign of Oleg_, produced at the Hermitage Theatre, St. Petersburg, September, 1794. Paskievich's share of this work seems to have been the choruses, which give a touch of national sentiment to the opera. Here he uses themes that have now become familiar to us in the works of later Russian musicians, such as the _Slavsia_ in honour of the Tsar, and the Little Russian theme "The Crane" (_Jouravel_), which Tchaikovsky employed in his Second Symphony. The orchestral accompaniments sometimes consist of variations upon the theme, a form much favoured by Russian musicians of a more modern school. Other operas by Paskievich are _The Two Antons_ (1804) and _The Miser_ (1811). Paskievich had not as strong a talent as Fomin, but we must give him credit, if not for originating, at least for carrying still further the use of the folksong in Russian opera. In a book which is intended to give a general survey of the history of Russian opera to English readers, it is hardly necessary to enter into details about such composers as Vanjour, Bulant, Briks, A. Plestcheiev, Nicholas Pomorsky, the German, Hermann Raupach, Canobbio, Kerzelli, Troinni, Staubinger, and other musicians, Russian and foreign, who played more or less useful minor parts in the musical life of St. Petersburg and Moscow during the second half of the eighteenth century. Three Italians and two Russians, however, besides those already mentioned, stand out more prominently from the ranks and deserve to be mentioned here.