Of the Metropolitan Grand Opera and General Manager of the Chicago Grand Opera, who through his tireless and skillful service is meeting with great success in the establishing of permanent Grand Opera in the larger cities west of New York, is an enthusiastic supporter of the Grand Opera in the vernacular, giving the many excellent American singers an opportunity to make their début in this country and in their own language. Mr. Dippel predicts the time is not far distant when New York will establish the home of the National Grand Opera.] EDUCATING THE MASSES. The musician who refuses to make certain concessions to the public gives proof of courage, but not of wisdom. One cannot expect to go before an audience and sing over their heads, and by so doing educate them up to one's own standard of music. You must reach down from your lofty ideals and meet the public on its own ground. For example, in creating a love for the grand opera (which the people, especially of the west, up to a few years ago have had no chance of hearing), you must proceed gradually, carefully and with tact. Teachers of voice culture should organize grand opera study clubs, give concerts, using selections from the popular grand opera--I mean by popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These operas contain airs that are attractive, and can be followed by the masses. It would not be long before the grand opera would share honors with the now flourishing musical comedy in the affections of the music-loving public, and the term "grand opera" would not sound to them like a "bugaboo." In Brooklyn one afternoon I passed a number of boys coming from school, and was astonished to hear them whistling "Tannhauser." While this would be quite natural in Europe it is rather unusual here, where the popular song has the upper hand with the young folks. I made inquiries and found that a phonograph had been installed in the school and that every morning the pupils listened to selections from the grand operas. My already good opinion of the value of the phonograph was strengthened, as I fully realize what effect hearing good music in the public schools would have on the coming generation. In order to fully appreciate a difficult composition one must have made a study of music, same as a doctor, in order to appreciate a lecture on some intricate subject about his profession, must have made a study of that profession. The painter sees in a great painting the beauties of execution that entirely escape the eyes of the uninitiated; yet the musician will go before an audience of whom two-thirds have probably never studied music at all, and expect them to appreciate the classical music, and because they do not, he would brand them as unappreciative, absurd; he expects the impossible. The average audience does not care for the name of a composition as long as the music appeals to them, and this is generally a matter of how it is interpreted.