be warmth without garishness, and adornment without encrusted overelaboration.

Being the proscenium, the care and attention to detail that has marked the conduct of the whole enterprise

FRANCES ALDA, SOPRANO

thus far will be fully in evidence. Every modern improvement has been incorporated in the ample stage, and its equipment of machinery is such that operas can be presented scenically as they have never been in Boston

before. Thus we believe the perfectly rounded performance is near at hand.

People of high rank have been chosen to help bring this happy state of affairs about. There is Menotti, the regisseur general, for instance. For years he was a singer in Italian opera, then changed his vocation to become a stage manager, becoming highly successful. His last post was that of regisseur of the Imperial Opera House in Odessa, from which place his release was obtained by Mr. Russell not without some diplomacy. Menotti is filled with a contagious enthusiasm at the prospect of assisting in the establishing of permanent opera in the most musical city in the new world.

Conti, the chef d'orchestre, is a conductor who has fully proven his value. He has conducted opera in Paris, Buenos Ayres, London, and Rome, and in the latter city he had the distinction of being the first to conduct there a Wagner music-drama. Upon Conti will devolve the responsibility of the musical interpretation of each opera, including full authority over the work of the singers. Another conductor will be Mr. Wallace Goodrich, long known to us in Boston and beyond as organist and choral leader.

Much attention will be paid to the perfection of the ballet, and here again is shown the interest in the cultivation

of American talent which is being fostered in this organization. Forty Boston girls have been in training for a year under the direction of Madame Muschietto, who has danced in all the leading opera opera centers of the world. This ballet will be augmented by a number of dancers from Europe. Madame Muschietto has been assisted in this work by Maria Paporello, who has been one of the dancers in the leading opera houses of America.

And the singers? Upon them, naturally, chief public interest centers. What is their calibre to be; to what extent are they thus far distinguished; to what degree will they thrill their audiences as well as satisfy the artistic demands of the "cogniscenti"? In reply it may be said that although the "star" system is tabooed in our plans, many of the people engaged belong by right in the ranks of the irridescent. And of the others there is much promise, based upon the expert knowledge of the director of the enterprise. This much we maintain; that the casts will be always adequate, often superb, and that the ensemble of each performance will be a constant source of satisfaction, if not surprise.

The soprano section is particularly strong. There is Frances Alda, an attractive young singer, who has appeared with success at La Scala in Milan and the Metropolitan Opera House in New York. There is Celestina Buoninsegna, a dramatic artist of the "New Italy" school; Fely Deresne, the French soprano, whose fascinating "Musette" is well remembered by Bostonians who heard Mr. Russell's performance of "Boheme"; Mathilda Lewicka, a Polish singer who has achieved fame in her own country and who hopes to persuade the director to produce at least one opera written by a Polish composer; Lydia Lipkowska, whose photographs truly bear out the most enthusiastic claims as to her beauty, and who had a resounding success as "Lakme” in a recent revival of Delibes' work at the Opera Comique in Paris; Alice Neilson, the engaging lyric soprano, of

whom all Americans are proud; Lillian Nordica, greatest of our native dramatic singers, and Jane Noria, a soprano of temperament whose charm has been felt by Boston audiences before.

The contraltos include Maria Claessens, a Belgian, now appearing in the Colon Theatre in Buenos Ayres. Mme. Claessens is the wife of a German army officer, and her daughter is now being educated in one of the seminaries near Boston. Anna Meitschik a Russian, was educated at Moscow and has sung in most of the great opera houses of Europe. Her voice. and style are said to resemble those of Mme. Schumann-Heink.

The tenor aggregation, upon which, rightly or wrongly, so much actually depends in the matter of popular favor, gives every indication of artistic power. Many nations contribute to the list. Eduard Bourillon is a Frenchman, with a large reputation for his work in the modern opera of his country. Edmond Clement, another singer from the land of the Gauls, excels in lyric roles. He recently achieved success in the new opera, "Quo Vadis," produced at Nice. Of Florencio Constantino, the Spaniard, it is only necessary to say that he is one of the very greatest tenors of the world. Ernesto Giaconne is a young artist with a phenomenal repertory and a pretty taste in matters of costuming. Christian Hansen is a Dane who not long ago stirred the people of Nuremburg to unwonted enthusiasm. He is dramatic by temperament and his favorite role is that of "Turiddu" in "Cavalleria Rusticana." Lorenzo Oggero, from Italy, is well liked in Buenos Ayres, whence so many excellent singers have found their way to the north.

Ten basses and baritones have been engaged. engaged. Georg Baklanoff, a Russian, is held by his countrymen to be one of the foremost baritones on the stage. At any rate, Director Russell had to pay a large forfeit to the Russian government to obtain his release from imperial engagements. Ramon Blanchart is acknowledged the finest

baritone in Spain. Raymon Boulogne, of France, is compared to Maurel in dramatic methods. Angelina Fornari has already pleased Bostonians by his warmth of singing and acting. A Boston resident appears in the person of Antonio Picco, who will make his debut as Conti di Luna in "Trovatore." Emanuele Sarmiento is said to be an Italian millionaire who has taken up a stage career for the pure love of it and has talent enough to succeed. Francis Archambault, hailing from

Canada, has been heard in Boston on the concert stage, but will make his operatic debut as "Barabas" in "Gioconda" on the night of the opening. Nivette, the principal basso of the company, is acclaimed in France as one of the great singers of the day. Pini-Corsi, the buffo, has already won fame as a singing comedian of the first order. Pulsini is a basso profundo whose voice is said to be of exceeding depth and richness.

In the selection of the operas to be