The operas of the Russians, Poles, and Bohemians, in so far as they possess points of individual interest, do so by virtue of their natural characteristics. It is unnecessary, therefore, to trace back the history of Opera in these countries to its foundation, as we should find that, in the main, it was a borrowed and foreign art, employing only methods that had derived their origin elsewhere, generally in Italy. [2] Those interested in the Development of National Opera in Russia are referred to four exhaustive papers read before the Musical Association by Mrs. Newmarch, under this heading, and published in the volumes of the Proceedings for 1900, 1902, 1903, 1904 respectively. [Sidenote: =Early Russian Composers=] Although, therefore, we find that opera in Russia was produced as early as 1737 on the Italian model, and even in the vernacular with some attempt at national style in 1756, these early attempts soon gave way before the popular style of light Italian pieces, and the work of such composers as Volkov, Titov, and Cavos may be passed over as unimportant in the history of opera. Even the music of that much greater musician, Anton Rubinstein, so far as his dramatic work goes, is a negligible quantity, in so far as it is Teuton in style and without distinction or national signification. [Sidenote: =Glinka, 1804-57=] The acknowledged pioneer in this school was Glinka, who wrote but one work of lasting worth, _A Life for the Czar_. This opera, however, laid such hold upon the Russian peoples as to have become the most popular opera in their repertoire, and we are told that it is played invariably for the opening night of the season both at Moscow and at St. Petersburg. It is intensely national in subject, and although the music shows many traces of Italian influence, which is not surprising considering its date of production (1836), there is still much that has its origin in national song and folk theme. Glinka afterwards wrote and produced a still more national, but less successful, work entitled _Ruslan and Ludmilla_. Glinka’s one popular opera is not only important in itself; it is still more worthy of notice as the stimulating motive which enabled a large number of younger Russians to write works of a similar nature. It must be conceded that to Englishmen the names of these men are hardly anything but names; yet in their own country they mean much more to the people than do the names of our English composers to the majority of us in this country. Unfortunately, intense enthusiasm and natural fervour has by no means found its way at present into English music. The extremely intimate nature of the music of the operas written by such men as Dargomijsky, Serov, César-Cui, Rimsky-Korsakoff, Borodin, Tchaïkovsky, and Arensky, while making for their popularity in the country of their production, is a factor against their performance in England, where the folk-songs and themes introduced would be unknown and unappreciated.