hearing Wagner's later operas,
they discovered in them a constant stream of melody where all had
seemed to them at first a mere
chaos of sound. Some of the stockholders, on the other hand, are so
absolutely unmusical that they do not know the meaning of the words
"tenor" and "soprano," and if
blindfolded could not tell if "Faust" or "Aida" was being sung. (This
is a real fact that I might prove by an amusing anecdote, were it not
too personal.) To this class of stockholders what difference can it
make whether they have German or Italian opera? They merely go to the
opera because it is a very fashionable thing to do so, and because
the ownership of an opera-box confers on them a social distinction
almost equal to an order, or a title of nobility, in foreign countries.
Many of the stockholders have converted the ante-rooms to their boxes
into luxurious parlors, into which they can retire and talk if the
music bores them. But, unfortunately, there are some black sheep among
them and their invited guests who do not make use of this privilege,
but give the rest of the audience the benefit of their conversational
accomplishments. The parquet often resents these interruptions, and
hisses lustily until quiet is restored. There are not a few lovers of
music
who, althou
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