drama from the stage, no attempt to introduce any English opera has been recently made.  Into such oblivion or disrepute have English composers fallen, that some of the most eminent have actually left London.  One well-known veteran now lives in honourable retirement in the Modern Athens.  Another, once popular and admired, “disgusted with London and the profession,” and “having given up all thoughts of again appearing before the London public as an operatic composer,” is said to have migrated in the capacity of singing-master to a fashionable watering-place; while a third, once equally well known, has left the kingdom altogether, and has settled himself in Paris.  The public ear has learned to appreciate music of a high class; and, judging from the past, the manager perhaps dare not incur the risk of bringing out a new native opera.  It is certainly much to be regretted that the existing demand should not be supplied from native sources, and thus serve the purpose of national advancement in the art; but English music does not take.  Does the fault rest with the public or with the musician?  It is easy, and no doubt convenient, contemptuously to apply the epithet, “hacknied,” to the operas recently adapted to the English stage; but how is it that the old “hacknied” music of the Italians should be preferred to the novelties of our native school?  Here again the public taste has advanced too fast, and, owing to the inferiority of our home productions, the foreigner has gained possession of the market.[2] Where is the remedy for this unfortunate state of things?  Some master-mind, some musical Napoleon, may rise up and take the world by storm; but such an event is particularly unlikely now.  The hour generally makes the man, and the necessities of the moment often call forth talents and energies, the existence of which was wholly unsuspected by their possessors.  For aught we know, many a hero may be now among the ranks, and many a gallant officer now before the mast, undistinguished from lack of opportunity, unknown because circumstances have not developed his dormant powers.  How then can the hour be hastened, and the opportunity of developing our musical powers be afforded?  The answer is, by the establishment of a National Opera.  It has been observed that every nation that has risen to musical greatness, possesses a musical opera.  Even the French, who, according to Mr Hullah, “have the least possible claim to a high musical organization,” have, nevertheless, long possessed a national opera, boasting the best orchestra in Europe, and producing masters whose works have been successfully transplanted, and singers who have met with universal admiration.  At the present moment, Paris has two national musical theatres, the Academie Royale, and the Opera Comique:  and the establishment of a third is said to be in contemplation.  The possibility of forming such an establishment at the present time in England, may be reasonably called in question.