1768. =Elizabeth Billington= (London). Was a prima donna of exceptional compass. During a long and varied career she appeared on the boards of many an operatic stage in Europe; her successes were, however, largely won in England. 1770. =Ludwig von Beethoven= (Bonn), 1770-1827. Beethoven’s single opera, _Fidelio_, was produced at Vienna in 1806. 1771. =Ferdinand Paer= (Parma). Was an Italian composer of many operas, both serious and comic; his _Eleanor_ seems to have inspired Beethoven’s _Fidelio_. 1773. =C. S. Catel= (l’Aigle). Wrote many operatic works for the Paris Opera. His music was looked upon by the French public as “academic” because he held a professorship at the Conservatoire; hence it stood condemned before trial and had little chance. Catel was associated with Cherubini in the composition of one opera. 1774. =G. L. P. Spontini= (Majolate), 1774-1851. One of the most interesting personalities in the history of opera. Although he wrote Italian opera for Naples, his great successes were achieved in the field of French grand opera, of which he remains one of the shining ornaments. His chief operas are _La Vestale_ (1807), _Ferdinand Cortez_ (1809), _Olympia_ (1821), _Alcidor_ (1825); none are now performed. 1774. =C. E. F. Weyse= (Altona). Was a composer of Danish opera, whose works, however, have not penetrated beyond the country for which they were written. He seems to have been one of the earliest to introduce the Scandinavian Volkslied to the stage. 1775. =F. A. Boieldieu= (Rouen). Is world known by his opera, _La Dame Blanche_, produced in Paris in 1825, one of many works, but the only one at all known to fame. He spent eight years in Russia writing operas and ballets for that country, but his greatest achievements belong to his second Parisian period. 1775. =Nicolo Isouard= (Malta). Is another composer of works for the Parisian houses, no less than thirty-four operas standing to his credit. Isouard and Boieldieu were in keen rivalry, to their great advantage, since both put forth their best work. 1780. =Angelica Catalani.= Was the possessor of a voice of wonderful flexibility, with a speciality for chromatic scales. For the period at which she flourished, she probably made more money than any other artist. Her greatest success seems to have been as “Susanne” in Mozart’s _Nozze di Figaro_.