Opera and politics—_Lohengrin_ in Paris— Opera non-lucrative to the composer—Jenny Lind’s contract—Modern fees—Royalties— Librettists—Metastasio and Scribe—The prima donna—Stories of singers and composers. [Sidenote: =Opera and Politics=] Now and again it happens that Opera rubs shoulders with Politics, and acquires some importance in the affairs of nations. Lully’s power at court in the days of Louis XIV. was notorious, and none too generously exercised so far as his fellow musicians were concerned. But influence with monarchs, such as that which he acquired, is exceptional and rarer now, and less powerful than in those earlier days. Lully profited by the royal favour bestowed on him, but some great composers have been less fortunate. Cherubini, for instance, was detested by the great Napoleon, who lost no opportunity of inflicting slights upon him. Cherubini’s sympathies were clearly manifested in his _Water Carrier_ opera, as on the side of revolution, but distinctly contrary to the excesses to which it often led. So enraged were some ruffians with him that he was in 1794 dragged out of his house, marched through Paris, and finally compelled to provide music for the pleasure of his captors. Napoleon frequently called him into his presence in order to praise other composers, suggesting that he compared unfavourably with them. When Cherubini replied with some little spirit, he was promptly punished by being compelled to conduct various concerts and state performances with no reward whatever. On the other hand, Napoleon, for a time, could not do enough for Spontini: he commanded the production of _La Vestale_, and rewarded him with a present of 10,000 francs, loading him, moreover, with praises and honours; this did not, however, last for very long, for the downfall of the great conqueror was at hand, and anxieties and cares claimed his attention. [Illustration: _Photo_] [_W. Shadwell Clerke._] [Sidenote: =“Lohengrin” in Paris=]