THOSE who saw Reinhardt's magnificent production of The Miracle at Olympia in London in 1911, have no need to be reminded how large a share of its success it owed to Humperdinck's impressive music. Wholly unlike the far bettor known Hansel and Gretel, though it is, it has the same feeling of belonging as of right to the scenes which it is illustrating, and it is of itself such effective music that it is still welcorned apart from its text, on the concert platform.