His pupil and follower, Dvŏrák, whose name as a composer of symphonies and chamber music is an exalted one also wrote much for the stage; indeed, just before his death a new opera by him, _Armida_, was produced in Prague. But his success, although so great and well deserved in other fields, is not comparable with that of Smetana, nor has he ever in the same way touched the hearts of the people. Other works by him are _King and Collier_ (1874), _Wanda_ (1876), _Der Bauer ein Schelm_ (1877), _Demetrius_ (1882), and _Rusalka_ (1901). His operatic essays are unknown in this country, nor are any works of other Bohemian composers offered for our pleasure in England so far as the theatre is concerned. There is, however, a promising young group of composers working at Prague, of whose doings we may some day hear more than at present. [Sidenote: =Other European Countries=] It may here be convenient to glance at the conditions that govern opera in some of the other European countries, which give evidence of a certain amount of activity; this has, in the main, confined itself up to the present within its own borders. The Scandinavian composers, such as Gade, Grieg, Sinding, etc., whose names are world known in other fields, have nothing to show us in respect of opera. The opera houses of Christiania and Copenhagen are active and busy, but they produce little indigenous opera, nor does the fame of that little travel very far. The Spaniards and Portuguese also have no claim to fame as composers of opera, the name of Arrieta, we take it, being little known, although he is the most famous of Spanish musicians so far as dramatic writing is concerned. Interest in the opera of these countries is the work of the specialist, rather than of the general writer; and we now turn to the conditions of opera as they obtain to-day in England and in the sister countries of Germany, France, and Italy. CHAPTER XIV. OPERA TO-DAY IN ITALY, GERMANY, FRANCE, AND ENGLAND. Boito—His interesting personality—Puccini—Mascagni —Leoncavallo—Cilea—German composers—Goldmark and Humperdinck—The French school—Saint-Saëns— Massenet—Bruneau—English composers—Stanford— Mackenzie—Cowen—Corder—Bunning, etc. To-day the art of operatic composition appears to be returning for its best results to its much loved home, Italy: it is the young Italian composers, among all its devotees of all nationalities, who appear to be putting forth the strongest work. Contemporary English, French, and German operas, with a few notable exceptions, are rarely heard beyond the borders of the land which gives them birth, but the works of Mascagni, Puccini, and Leoncavallo find a home in every opera-house. [Sidenote: =Boito, 1842=]