devoid of any real musical interest, and the fact that performances of such a work as ‘Martha’ are still possible in London gives an unfortunate impression of the standard of musical taste prevailing in England.  Otto Nicolai (1810-1849) began by imitating Italian music, but in ’Die lustigen Weiber von Windsor,’ a capital adaptation of Shakespeare’s ’Merry Wives of Windsor,’ which was only produced a few months before his death, he returned to the type of comic opera which was popular at that time in Germany.  He was an excellent musician, and the captivating melody of this genial little work is supplemented by excellent concerted writing and thoroughly sound orchestration.

To this period belong the operas written by three composers who in other branches of music have won immortality, although their dramatic works have failed to win lasting favour.

Mendelssohn’s (1809-1847) boyish opera ‘Die Hochzeit des Camacho’ is too inexperienced a work to need more than a passing word, and his Liederspiel ‘Heimkehr aus der Fremde’ is little more than a collection of songs; but the finale to his unfinished ‘Lorelei’ shows that he possessed genuine dramatic power, and it must be a matter for regret that his difficulties in fixing on a libretto prevented his giving anything to the permanent repertory of the stage.

Schubert (1797-1828) wrote many works for the stage—­romantic operas like ‘Fierrabras’ and ‘Alfonso und Estrella,’ operettas like ’Der haeusliche Krieg,’ and farces like ‘Die Zwillingsbrueder.’  Most of them were saddled by inane libretti, and though occasionally revived by enthusiastic admirers of the composer, only prove that Schubert’s talent was essentially not dramatic, however interesting his music may be to musicians.

Schumann’s (1810-1856) one contribution to the history of opera, ‘Genoveva,’ is decidedly more important, and indeed it seems possible that after many years of neglect it may at last take a place in the modern repertory.  It is founded upon a tragedy by Hebbel, and tells of the passion of Golo for Genoveva, the wife of his patron Siegfried, his plot to compromise her, and the final triumph of the constant wife.  The music cannot be said to be undramatic; on the contrary, Schumann often realises the situations with considerable success:  but he had little power of characterisation, and all the characters sing very much the same kind of music.  This gives a feeling of monotony to the score, which is hardly dispelled even by the many beauties with which it is adorned.  Nevertheless ‘Genoveva’ has been revived in several German towns of late years, and its music has always met with much applause from connoisseurs, though it is never likely to be generally popular.

CHAPTER VII

ROSSINI, DONIZETTI, AND BELLINI