Turning, at first, to the sunny land where opera was born, the name of the most famous “La Scala” Theatre at Milan at once comes to the mind. This house has the enormous seating capacity for 3,600 persons. Apart from its size, there is the musical and artistic interest which this house derives from the production of many works here for the first time. Since its opening date, August 3rd, 1778, hundreds of operas have been staged, and the triumphs of Rossini, Meyerbeer, Bellini, Donizetti, and Verdi have been witnessed. It is enough to state that such works as Rossini’s _La Gazza Ladra_, Bellini’s _Norma_, Donizetti’s _Lucretia Borgia_, Verdi’s _I Lombardi_, Boito’s _Mefistofele_, and Ponchielli’s _La Gioconda_ first saw the light of day in “La Scala” to establish for it a claim to notice on the part of opera-goers. Sometime ago the municipal grant towards the expenses of the establishment was close upon £10,000, but a five years’ contract dating from 1902 allows only an annual subsidy of £3,900 for 50 performances, and at reduced prices. [Sidenote: =San Carlo=] Even older than La Scala, as it dates originally from 1737, is its Neapolitan rival “San Carlo.” The new house, built after a fire in 1816, is of great size, and at one time vied with its Milanese brother in the importance of new works produced; but less financial support has been forthcoming from Naples than is the case at Milan, and although an annual grant of £3,200 is given by the municipality, the San Carlo productions, although of very high rank, are perhaps hardly on a level with those at La Scala. But San Carlo has had its triumphs, and has seen the first production of Rossini’s _Mosĕ in Egitto_, _Zelmira_, and other works, and of Donizetti’s _Lucia di Lammermoor_, besides numbers of other operas of less fame. [Sidenote: =Venice=] Although Venice looms large in the history of music, and its doings in opera have been very considerable, there appears to be no theatre solely devoted to this class of work, nor is there any regular grant. It is interesting to remember that Rossini’s _Semiramide_ and _Tancredi_ are both Venetian productions. [Sidenote: =Rome=] Rome in older days had pride of place amongst opera houses, and Mr. Hadow speaks of it as being at one time the highest school in which a musician could graduate. Here was produced Rossini’s _Il Barbiere_ and many another famous work. To-day opera at Rome, if indeed it is on an equal level, hardly seems to be of higher importance than that in other Italian cities. It has no subsidy at the present time, and has to depend on its own resources for its upkeep. [Sidenote: =Paris=]