GLUCK, Wagner, and Verdi each closed an epoch. In Gluck there culminated the pre-Mozartean school. In Mozart two streams of opera found their source. "Don Giovanni" and "Le Nozze di Figaro" were inspirations to Rossini, to whom, in due course of development, varied by individual characteristics, there succeeded Bellini, Donizetti, and Verdi.

The second stream of opera which found its source in Mozart was German. The score of "Die ZauberflÖte" showed how successfully the rich vein of popular melody, or folk music, could be worked for the lyric stage. The hint was taken by Weber, from whom, in the course of gradual development, there derived Richard Wagner.

Meanwhile, however, there was another development which came direct from Gluck. His "IphigÉnie en Aulide," "OrphÉe et Eurydice," "Alceste," and "Armide" were produced at the AcadÉmie Royale de Musique, founded by Lully in 1672, and now the Grand OpÉra, Paris. They contributed materially to the development of French grand opera, which derives from Gluck, as well as from Lully (pp. 1, 4, and 6), and Rameau (p. 1). French opera also was sensibly influenced, and its development in the serious manner furthered, by one of the most learned of composers, Luigi Cherubini, for six years professor of composition and for twenty years thereafter (1821-1841) director of the Paris Conservatoire and at one time widely known as the composer of the operas "Les Deux JournÉes" (Paris, 1800; London, as "The Water-carrier," 1801); and "Faniska," Vienna, 1806.

To the brief statement regarding French grand opera on p. 2, I may add, also briefly, that manner as well as matter is a characteristic of all French art. The Frenchman is not satisfied with what he says, unless he says it in the best possible manner or style. Thus, while Italian composers long were contented with an instrumental accompaniment that simply did not interfere with the voice, the French always have sought to enrich and beautify what is sung, by the instrumental accompaniment with which they have supported and environed it. In its seriousness of purpose, and in the care with which it strives to preserve the proper balance between the vocal and orchestral portions of the score, French opera shows most clearly its indebtedness to Gluck, and, after him, to Cherubini. It is a beautiful form of operatic art.

In the restricted sense of the repertoire in this country, French grand opera means Meyerbeer, Gounod, Bizet, and Massenet. In fact it is a question if, popularly speaking, we draw the line at all between French and Italian grand opera, since, both being Latin, they are sister arts, and quite distinct from the German school.

Having traced opera in Germany from Gluck to Wagner, and in Italy from Rossini to Verdi, I now turn to opera in France from Meyerbeer and a few predecessors to Bizet.