Last amongst deceased English composers of opera may be named Arthur Sullivan, who wrote one serious opera, _Ivanhoe_ (1891), and a host of delightful works of slighter scope to which it is hard to give a class-name. They are not quite of the opera comique type, nor do they partake of the farcical nature of “Opera Bouffe.” Perhaps a nondescript term such as “Light Opera” answers as well as any other to the charming, harmonious, graceful class of “Singspiel” which found such favour not only in England, but in the case of some works (such as _The Mikado_), also on the Continent. Their popularity, immense some twenty years ago, now appears to be somewhat on the wane; but they are still models of refinement and of good sound musicianship. [Sidenote: =Living Writers=] [Illustration] More serious attention has, however, been paid to opera in English by composers still living than by any named in this chapter. To these some consideration must be given, after we have noticed to some extent the Wagner operas and their influence. CHAPTER XI. WAGNER AND HIS OPERAS. Wagner’s early days—At Würzburg—At Königsberg— At Riga—At Paris—_Rienzi_—Dresden—Zurich— Munich—Triebschen—Bayreuth—Death—Wagner’s methods—_The Flying Dutchman_—_Tannhäuser_ —_Lohengrin_—_Tristan and Isolde_—_Die Meistersinger_—_The Ring_—_Parsifal_— Wagner’s continued development. The name of Wagner is the most interesting in all the annals of opera. We live too far away from the days of Lully and of Gluck to feel more than a shadowy interest in the personality of these men, although it was very marked; and in the case of more modern composers of pronounced character and distinctive achievement, such as Meyerbeer, Spontini, or Verdi, none can approach the great Richard Wagner in interest or in fascination. Since he is not only the most striking of opera composers, but also one whose work is judged, practically, by his efforts in this field alone of all musical art, we need have no hesitation in giving, in his case, a slightly more developed biographical notice than has been possible for men of less operatic repute. [Sidenote: =Wagner’s Early Days=] Richard Wagner, a junior member of a large family, was born in Leipsic in 1813 (May 22nd). His father died early, and his mother soon married again. Richard’s step-father, Geyer, was instrumental in introducing the boy to the stage, as he was an assistant at the Court Theatre at Dresden. Moreover, he perceived artistic instincts in the boy, and had him properly educated.