1804. =Wilhelmine Schröder-Devrient= (Hamburg). Must always remain a person of interest to musicians, in that she created the part of Leonora in Beethoven’s _Fidelio_ upon its revival in 1822, when that work really gained a fair hearing. She was also an early exponent of Wagnerian parts (Senta, Venus, etc.). 1804. =Michael I. Glinka= (Novospaskoi). Is the earliest of Russian opera composers to be known outside his own country, and he is important, not only for his compositions of _Life for the Czar_ and _Russlan_, but also in that he founded a school of Russian opera which has brought forth much fruit. 1805. =Luigi Ricci= (Naples). Wrote a large number of operas, very famous in their day, but now forgotten. 1805. =Manuel Garcia= (Madrid). The wonderful centenarian: claims notice as the trainer of those fine operatic artists, Jenny Lind and Catherine Hayes. 1806. =Henrietta Sontag= (Coblenz). Was a charming and gifted soprano of European reputation, who delighted all hearers, and seems to have combined a charming personality with great artistic attainments. 1807. =J. A. Tichatschek= (Weckelsdorf). Was a Bohemian tenor who made for himself a great reputation in all the grand operas of the greater masters. He was also the original “Rienzi” and “Tannhäuser.” 1808. =A. L. Clapisson= (Naples). Was a graceful composer of many operas which pleased in their day, but which have had no continuance of popular favour. 1808. =Michael William Balfe= (Dublin), 1808-1888. Is the best known of English opera writers of his period, and his _Bohemian Girl_ (1843) is familiar to all. Other of his successes are _The Siege of Rochelle_ (1835), _The Maid of Artois_ (1836), _Blanche de Nevers_ (1863), _Il Talismano_ (1874). 1808. =Michael A. A. Costa= (Naples). Was best known as a conductor, more especially of the Italian opera in England. He wrote a few forgotten specimens, but is mainly of importance as a wielder of the bâton. Costa died in 1884. 1808. =P. L. P. Dietsch= (Dijon). Was also a conductor. His chief claim to fame seems to have been that he purchased the libretto of Wagner’s _Flying Dutchman_, and clothed it with absolutely forgotten music. 1808. =Albert Gnsar= (Antwerp). Wrote a number of comic operas for Paris. They seem to have been works of elegance and grace, without special distinction.