ABSTRACT
The impetus in Britain to found so-called national institutions in the performing arts was spurred in the nineteenth century by various factors: these included a belief that performing standards in existing companies and venues were too low; that the finest music, drama and dance should be available to as many people as possible without regard to income because of their educational and 'civilising' qualities. Mapleson's scheme was intended, in part, to fill what many saw as a gap in Britain's cultural life. The terms 'Italian opera' and 'English opera' as they were used in Victorian Britain refer to the language of performance; Italian opera companies mainly performed Italian opera, but also French works and, occasionally, German and English operas, all translated into Italian, whereas the English opera companies performed a more balanced repertory with the primary emphases on English and Italian works. A 'national opera', it was hoped, would promote performance in the vernacular and works by British composers.
