German opera of the latter part of the century has been so demoralized by the influence of Wagner that the German composers have become little more than imitators of his pronounced mannerisms. Weber’s “Der Freischütz” remains the most popular of German operas, just as Verdi’s “Il Trovatore” is the most popular of Italian operas. Spohr, Lindpainter, and many other German composers of ability have been laid on the shelf. Marshner, who died in Hanover in 1861, showed in his “Hans Heiling” that he was a follower of Weber, as well as in his “Templar and Jewess.” [Illustration: WILLIAM RICHARD WAGNER.] Cornelius, who died in Mainz in 1874, made his principal success with his “Barber of Bagdad,” a comic opera in which the manner of Wagner was imitated. In 1864 “The Cid” was produced in Weimar, but it was found depressingly heavy and labored. Goldmark, a follower of Meyerbeer, made a success in 1875 with his “Queen of Saba” that was not equaled by his “Merlin,” produced in 1886, or his “Prisoner of War,” produced in 1899. To return to the great leader of opera—Verdi—one may say of him that his operas are divided into three periods. The first included the works written in the old Neapolitan style as he had found it. To this class belong “Nabucco,” “Attila,” et cetera. To the second period, which shows remarkable dramatic color and beautiful melody, belong “Rigoletto,” “Ernani,” and “Ballo in Maschera” (in which Verdi began to pay attention to his instrumentation). To the third period belongs “Aïda,” which is his most characteristic and remarkable opera, in which the melody is wonderfully fresh and beautiful, combined with remarkable science. [Illustration: EDWIN FORREST.] “Otello” is also a great work, written at a time of life when most composers retire, and broadly dramatic in its treatment of the situations, illuminated by rich and expressive instrumentation. As for “Falstaff,” the latest opera that Verdi has written, and probably the last he will write, it is the greatest modern comic opera, just as Mozart’s “Nozze di Figaro” is the greatest comic opera of the past. It convinces the world that Verdi’s genius is inexhaustible. Next to Verdi comes Wagner, the anarchist of music, who began in “Rienzi” and “The Flying Dutchman” by imitating the Italian forms of melody. In “Tannhäuser,” portions are very beautiful and melodious; in “Lohengrin,” portions are fine; but Wagner’s idea of effect was bad and he never knew when to stop, so that many of the scenes are interminable. This fault increased as Wagner composed the “Nibelungen” series for the crazy king of Bavaria. Melody vanished, the singers became secondary to the orchestra, which was persistently noisy. Wagner’s effort was to create a new school of opera, in which everything should be minutely descriptive. He went too far and opened the question of failure. In opera the voices claim the first place, and the orchestra is an accompaniment, so that Wagner’s method was radically wrong.