"PAGLIACCl" For a quarter of a century "Cavalleria Rusticana" and "Pagliacci" have been the Castor and Pollux of the operatic theatres of Europe and America.

Together they have joined the hunt of venturesome impresarios for that Calydonian boar, success; together they have lighted the way through seasons of tempestuous stress and storm.

Of recent years at the Metropolitan Opera House in New York efforts have been made to divorce them and to find associates for one or the other, since neither is sufficient in time for an evening's entertainment; but they refuse to be put asunder as steadfastly as did the twin brothers of Helen and Clytemnestra.

There has been no operatic Zeus powerful enough to separate and alternate their existences even for a day; and though blase critics will continue to rail at the "double bill" as they have done for two decades or more, the two fierce little dramas will "sit shining on the sails" of many a managerial ship and bring it safe to haven for many a year to come.
Twins the operas are in spirit; twins in their capacity as supreme representatives of verismo; twins in the fitness of their association; but twins they are not in respect of parentage or age.

"Cavalleria Rusticana" is two years older than "Pagliacci" and as truly its progenitor as Weber's operas were the progenitors of Wagner's.