THE UNIVERSITY AND THE OPERA.

In all the large university cities of Europe, there is a close connection between the students and the opera. The students are allowed seats at reduced rates, form a large proportion of the audience, and get a great deal of education in that way. Here we have a university, and an opera near-by, but the opportunity for bringing about close relations between the two has been neglected. The reason is evident: college men can not afford to pay the full price for tickets. As a result they can not go, and thus not only they lose a great opportunity for education, but the opera loses an enthusiastic backing.

Harvard has emerged from its early provincial position, and has become a centre of intellectual activities. In its path as the leader of American culture, it has come in contact with one of the greatest forms of art of our civilization. Nothing could be more pitiful and blind than for the University to bury itself in books, and pass by an institution which has a purpose so nearly akin to its own. The situation in Europe provides us with an example of what the possibilities are. If any differences exist in the possibilities here, it is that they are greater, and more urgent. Here, more than in Europe, the opera needs backing. Money may be superficially the most important need of the Boston Opera Company, but the more fundamental need is an intelligent interest. This must be the foundation for the permanence of Boston's opera. Harvard can give the interest, Harvard must give the interest. It is her position in the country that calls her to enter into a role which she has already half assumed in establishing such things as the "Historic Operatic Concerts." The interest is all ready to be used, but it can not be used unless in some way Harvard students can attend the opera. A few Harvard seats, which men could obtain at reduced rates would be a step in the right direction, and this, of course, would cost money. There are many schemes suggested for bringing about the relations that we encourage, but the particular arrangements are not for us to decide. All that the CRIMSON wishes to emphasize is that we have the extraordinary advantage of a first-class opera in Boston, and that in some way the University must assume its true position behind it, in order that the students and professors be enabled to enjoy it, for our own good, and for the good of the opera.