WHEN Sir Arthur, then Mr., Sullivan commenced that collaboration with Mr. W. S. Gilbert which has since yielded such an extraordinary meed of popular approval, musicians gave utterance to some feeling of regret that the ability and talent of one of our representative composers should be frittered away in the composition of burlesque music. Six years have elapsed, and Sir Arthur Sullivan has carefully felt the pulse of the public to whom he has appealed, giving a higher artistic impress to each successive work as he believed it was safe to do so. "Patience" and "Iolanthe" were on the whole a considerable advance upon "The Sorcerer" and "H.M.S. Pinafore," and by general consent the Music of "Princess Ida" shows yet further progress towards that intellectual standard which should be the goal of every earnest composer. This comparative excellence is the more apparent because Mr. Gilbert's share in the work is confessedly weaker than usual. There are some extremely whimsical ideas in his libretto, but it has the disadvantage of being a renovated version of an unsuccessful play, and it has its dull as well as its brilliant moments. On the other hand, the score is free from the slightest suspicion of vulgarity; and though much of the music is a réchauffé of earlier works, the composer has preserved a certain refinement of manner which conveys a sense of charm to cultured listeners. It would serve no useful purpose to analyse the opera in detail, but we may call attention to Sir Arthur Sullivan's felicitous reproductions of old world rhythms and cadences, and also to his masterly use of the orchestra. In this last respect the superiority of his work to those of foreign composers of light comic opera must be manifest to any attentive listener. There is not one among the performers who is entitled to special commendation, but the ensemble is little short of perfection, and the orchestra and chorus are of first-rate quality. If "Princess Ida" is as successful as it appears to be, Sir Arthur Sullivan may be encouraged to devote his gifts to higher purposes in the domain of the lyric drama.