plot of the piece, provided only that their favourite singers were
taking part. Very often in that classic period the performers themselves
knew nothing and cared less about the dramatic meaning of the works in
which they appeared, and a venerable anecdote is current concerning a
certain supper party, the guests at which had all identified themselves
with one or other of the principal parts in 'Il Trovatore'. A question
being asked as to the plot of the then popular piece, it was found that
not one of the company had the vaguest notion what it was all about.
The old lady who, during the church scene in 'Faust', asked her
grand-daughter, in a spirit of humble inquiry, what the relationship was
between the two persons on the stage, is no figment of a diseased
imagination; the thing actually happened not long ago, and one is left
to wonder what impression the preceding scenes had made upon the hearer.

Of books that profess to tell the stories of the most popular operas
there is no lack, but, as a rule, the plots are related in a 'bald and
unconvincing' style, that leaves much to be desired, and sometimes in a
confused way that necessitates a visit to the opera itself in order to
clear up the explanation. There are useful dictionaries, too, notably
the excellent 'Opern-Handbuch' of Dr Riemann, which gives the names and
dates of production of every opera of any note; but the German scientist
does not always condescend to the detailed narration of the stories,
though he gives the sources from which they may have been derived. Mr
Streatfeild has hit upon the happy idea of combining the mere
story-telling part of his task with a survey of the history of opera
from its beginning early in the seventeenth century to the present day.
In the course of this historical narrative, the plots of all operas that
made a great mark in the past, or that have any chance of being revived
in the present, are related clearly and succinctly, and with a rare and
delightful absence of prejudice. The author finds much to praise in