[Sidenote: =Cowen, 1852=] Frederic Cowen seems to have lost heart, so far as operatic enterprise is concerned. The list of his essays in this form of art are _The Lady of Lyons_ (1876), _Thorgrim_ (1890), _Signa_ (1893), and _Harold_ (1895). The general opinion of these is, that while containing much music that is genuinely charming and beautiful, there is not enough dramatic virility or depth of idea to carry so exacting a work as a grand opera to a successful issue. Mr. Frederick Corder has completed many operas, only one of which, _Nordisa_, has been produced, and this as long ago as 1886. Mr. Hamish MacCunn, a Scotch composer, is answerable for the music to _Jeanie Deans_ and _Diarmid_. Miss Ethel Smyth is one of the rare instances of a member of the fairer sex rising to any point of distinction in operatic composition: her one-act work _Der Wald_ (“The Wood”)[3] achieved considerable success in England a few years back, and her music is held in still higher esteem in Germany, where her last opera, _The Wreckers_, has had great success. [3] Performed at Covent Garden, July 1902, and distinctly Wagnerian in style. The opening woodland scene music is as original as it is delightful, and evidences the real ability of this native lady composer.—ED. [Illustration] _Princess Osra_, produced at Covent Garden in 1902, is the work of a young Englishman, Herbert Bunning, who simulates the modern Italian method, and from whom more may be heard ere long. Mr. de Lara has produced _The Light of Asia_, _Amy Rosbart_, and _Messaline_, while other workers in this direction may include Mr. Somerville, Alick McLean, Edward German, and Franco Leoi. English opera suffers much from lack of opportunity, still more from absence of individuality. Were English composers able to graft on to their style some trace of natural characteristics, as we find the Russians and Bohemians of to-day have done, there is little doubt but that their productions would command a greater interest and a more enduring success. CHAPTER XV. OPERATIC ENTERPRISE IN ENGLAND. Subsidized opera—Opera an educative factor—Objection to subsidies—Advantages—English opera—Opera companies—Covent Garden—The Royal Opera Syndicate —History of opera in this country—Travelling companies—The Carl Rosa Company—The Moody-Manners Company—The outlook. [Sidenote: =Subsidized Opera=]