The very young reader to whom Noel Streatfeild addresses her Enjoying Opera is not likely to be lured to the opera house by the potted history of opera forming the central chapters of this book, especially when towards the end it degenerates into little more than a list of names and dates. Now and again (as in the case of [Christoph] Gluck's and [Richard] Wagner's reforms) Miss Streatfeild's simple exposition hardly suggests specialist knowledge behind it. The author is happier in telling the stories of some favourite operas towards the end, and in her chattier chapters such as those on the function of the producer and designer.

"Men of Music," in The Times Literary Supplement (© Times Newspapers Ltd. (London) 1966; reproduced from The Times Literary Supplement by permission), No. 3378, November 24, 1966, p. 1095.∗