expounding the deeds of Prince Bova, of Jerouslan Lazarevitch or Erhsa Stchetinnik, fantastical pictures of national habit and costumes. Therefore, in spite of Oriental traces and the Italian names Duodo and Guidone, the tale is intended to depict, historically, the simple manners and daily life of the Russian people, painted in primitive colours with all the freedom and extravagance beloved of artists. In producing the opera the greatest attention must be paid to every scenic detail, so as not to spoil the special character of the work. The following remark is equally important. In spite of its apparent simplicity, the purpose of The Golden Cockerel is undoubtedly symbolic. This is not to be gathered so much from the famous couplet: "Tho' a fable, I admit, moral can be drawn to fit!" which emphasises the general message of the story, as from the way in which Pushkin has shrouded in mystery the relationship between his two fantastical characters: The Astrologer and the Tsaritsa. Did they hatch a plot against Dodon? Did they meet by accident, both intent on the tsar's downfall? The author does not tell us, and yet this is a question to be solved in order to determine the interpretation of the work. The principal charm of the story lies in so much being left to the imagination, but, in order to render the plot somewhat clearer, a few words as to the action on the stage may not come amiss. Many centuries ago, a wizard, still alive today, sought by his magic cunning to overcome the daughter of the Aerial Powers. Failing in his project, he tried to win her through the person of Tsar Dodon. He is unsuccessful and to console himself, he presents to the audience, in his magic lantern the story of heartless royal ingratitude. Performance practice Composer's Performance Remarks (1907) The composer does not sanction any "cuts." Operatic singers are in the habit of introducing interjections, spoken words, etc. into the music, hoping thereby to produce dramatic, comic or realistic effect. Far from adding significance to the music, these additions and emendations merely disfigure it. The composer desires that the singers in all his works keep strictly to the music written for them. Metronome marks must be followed accurately. This does not imply that artists should sing like clock-work, they are given full artistic scope, but they must keep within bounds. The composer feels