There are some people who maintain that all translation of vocal music into other languages is barbarous, and that no opera ought ever to be performed except in the language to which it was written. This position is a perfectly logical one, and I can sympathise very cordially with it in theory; I would certainly say that for the detailed study and criticism of any opera a knowledge of it in the original language is indispensable. But for practical purposes translation is a necessity, if opera is to receive any popular encouragement. In France, Germany and Italy, as well as in other countries such as Holland, Sweden, Poland and Hungary, where the native language is not one that is commonly learned by foreigners, opera is regularly performed in the language of the people; it is therefore only commonsense that opera in England should be performed in English, at any rate in those theatres where opera is performed regularly throughout the season. I shall therefore assume that I need waste no more words this afternoon in defending the principle of opera in English. I must however, make it quite clear to you that my paper deals solely with the translation of operas, and that it will not treat at all of the translations of any other kind of vocal music. It is necessary for me to mention this, because the conditions of opera require methods of translation which would often be quite inappropriate, or even utterly inadmissible, in such forms as oratorios and single songs. In these branches of music I have little experience as regards translation, and I do not intend to discuss them at all.