Touching upon the question of finance, we find that the French Government allows the very large subsidy of £32,000 per annum towards the expenses of Grand Opera; in return, however, opera is supposed to be staged three or four times during the week, and the prices of admission, as compared with London, are not high (ranging from 17 fr. to 2 fr.). France loves its opera, and does not hesitate to lay out good round sums for its support; nor are its people behind-hand in their attendance; a crowded house is the rule rather than the exception, appreciation, while critical, being still keen. [Sidenote: =Vienna=] Comparing not unfavourably in dignity of conception and splendour of adornment with the French house is the Opera House of Vienna, an ornament in that encircling ring of fine buildings which is so distinctive a feature of the Austrian capital. Vienna has been the home of so many of the giants of music that it is not surprising that it should have witnessed the production of many a work now world famous: Gluck’s _Orfeo_ (1762), Mozart’s _Figaro_ (1786), _Cosi fan Tutte_ (1790), and _Zauberflöte_ (1791), Beethoven’s _Fidelio_ (1805); these alone would suffice to cause Vienna to stand high in musical fame, for it was at Vienna that these works first came to light. Not that the present Opera House witnessed their production, for the building which to-day stands as an abode of opera dates from a more recent time; the cost of its erection was £509,795. Belonging to the State, its affairs are administered by the Lord Chamberlain’s department, any deficit being made good from the Emperor’s Civil List. [Sidenote: =Budapest=] The Hungarian Opera House at Budapest also receives from the State a subsidy of £24,208, and in addition a sum of £250 for salaries; the Emperor supplementing this by a grant of £13,334. [Sidenote: =Prague=] Reference must also be made to Prague, famous for the production of Mozart’s _Don Giovanni_ in 1787. More recently Prague has been the home of works of the Bohemian school, as exemplified by Smetana, Dvŏrák, Fibich, and others. Smetana’s _Bartered Bride_ was staged at Prague in 1866, and from that date to the time of the appearance of Dvŏrák’s last opera, _Armida_, in 1904, the National Theatre has witnessed a constant succession of works of a characteristically national tone which make an unfailing appeal to the Czechs. The Czech theatre has a State grant of £3,750. [Sidenote: =Berlin=] The Berlin Opera House also has claims to notice, for was not Weber’s _Der Freischütz_ mounted here for the first time? Moreover, Berlin being the capital of Germany, the house is the scene of many fine State performances much patronized by the Royal House. The building itself, although standing well in the fine “Linden” promenade, will not compare with Paris or Vienna from an architectural point of view; the Opera House and Play House of Berlin together receive £54,000 towards their working expenses. [Sidenote: =Dresden=]