In my last paper on the development of Russian opera, I spoke of Dargomijsky and Moussorgsky, whose dramatic and realistic tendencies separated them to some extent from the direct influence of Glinka; and I also gave some account of Serov, the one thorough-going disciple of Wagner whom Russia has produced. To-day, I return with Borodin to that original type of national, lyric opera which Glinka inaugurated in “A Life for the Tsar.”