later in the evening his self-assurance returned and his singing was rapturously applauded. From that time on his success was assured; and for thirty years he held sway as one of the foremost tenors of all Europe.
197.—A LONG ENCORE NUMBER.
Many audiences contain a certain proportion of people who are unappreciative of the fitness of things, and who proceed to show their enjoyment of singing and playing at the wrong time and in a very obnoxious manner.
The effect of many a fine solo in oratorio or dramatic passage in opera has been utterly spoiled by some of these enthusiastic people whose zeal exceeds their good judgment. The end of a scene or act is the proper place for one to give vent to his enthusiasm.
Ordinary people can frequently get a repetition of some favorite number or occasionally a whole scene; but few can encore the whole opera and have it all over again.
When Cimarosa's "Secret Marriage" was first performed, it was before the Emperor of Austria and his Court. This august personage was delighted with the performance and at the conclusion invited all the singers to a royal feast. Compliments were numerous and the wine flowed liberally. Finally the Emperor desired to hear the opera repeated, and so they one and all went back to the opera house and the whole opera was given again. Imagine this done with one of Wagner's music dramas!
198.—"ENGLYSHE MEETRE."
Dr. Christopher Tye, a prominent musician of the time of "good Queen Bess" once undertook to set to music the Acts of the Apostles. This was no slight task; but the good old doctor plodded through fourteen chapters and then gave it up. His reasons for undertaking
