In England only one opera of his, _Eugene Oniegin_, has been produced; but several more fine works proceeded from his fertile pen, some of them still very popular in their own country. The chief are _The Oprichnik_ (1872), _Eugene Oniegin_, _Joan of Arc_ (1880), _Mazeppa_ (1883), and _The Enchantress_ (1887). Tchaïkovsky attempted many styles, but his individuality was always apparent, sometimes with good results and sometimes not. When the subject of the opera was in accordance with the general trend of his thought, the result was a felicitous one, but he holds a lower place as a writer of opera than is his possession as a creator of symphony, song, and tone poem. [Sidenote: =Polish Opera=] The sister country of Poland has at present made little claim to achievement in the opera house: the national dances, the polonaise, valse, mazourka, etc., have been utilized by Glinka very effectively, but the only record of Polish opera to hand is the work of the great pianist, Paderewski, whose _Manru_ has recently come to light. Its music is described as German rather than Polish, and it is not likely to found a new school of composition. [Sidenote: =Bohemian Opera=] Of more interest is the national opera of Bohemia, with its headquarters at Prague. Among its earlier composers we find the names of Tomaschek, Nepravnik, and Fibich. More important than these is Smetana (1824-84), who settled in Prague in 1866, at a time when national freedom of thought and language was gaining position in Bohemia. Smetana took advantage of the enthusiasm with which everything national was greeted, and by his incorporation of the folk-songs of the people into his operas, introduced to his country a new form of opera which at once took root and flourished there. The melodies he chose were dear to the hearts of the people; moreover, they were simply and yet effectively treated, with due knowledge of and consideration for stage-effect; consequently Smetana’s operas are in Bohemia looked upon as the realization of a national ideal. We know little of them in this country, save that the overture to the _Bartered Bride_ is a popular item in the repertoire of our orchestral societies; but he wrote many other works, such as _Dalibor_, _Der Kuss_, and _Libusa_. [Sidenote: =Dvŏrák, 1841-1904=]