Queen of the Dawn There is even a probability that the music will seem better than it is, so eager is the opera public for new material that will gratify the ear rather than perplex it with harmonic and structural experiments which may or may not represent some liberation from old shackles for those who are writing music, but which leave opera audiences stranded and athirst for recognizable melody. Italy has gone on making tunes, while Germany and Austria have done much of the experimenting, which may explain the pouring of copious vials of wrath on the Lattuada work when it recently was produced in Berlin. With its world-premiere at La Scala as recent an event as February, , this opera might be regarded - if it were to prove of any considerable importance in the great opera houses - as one of the signposts pointing away from the atonalists and polytonalists to a continuation of the paths of lyric fluency and charm traversed so successfully by the late Giacomo Puccini. Little has been known of Lattuada other than that he is an Italian, forty-eight years old, a native of Morimondo, in the vicinity of Milan, and has composed several operas. A compatriot journalist has supplied a brief sketch of his career, pointing out that he is the son of a school teacher; that he took up that means of livelihood at an early age, made it a habit to arise at four in the morning to study counterpoint, played the piano so much that he was obliged to move from lodging to lodging, and in due time received a degree from the Conservatorio in Milan.

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