loved husband," Fidelio answered,
while the good Rocco pushed her ahead of him, closer to Fernando's
side.

"She is no youth, but the noblest woman in the world, Don Fernando,"
Rocco cried, almost weeping in his agitation and relief at the turn
things were taking for those with whom he sympathized.

"Just let me be heard," Pizarro called, becoming more and more
frightened each moment.

"Enough of thee," Fernando answered, bitterly, in a tone that boded no
good to the wretch. Then Rocco told the whole truth about the
governor: how he, himself, had had to lend a hand to his wicked
schemes, because as a dependent he could not control matters; and then
all the prisoners cried out for Pizarro's punishment.

Fernando commanded Pizarro to give Fidelio the key of the prison, that
she, the faithful wife, should have the joy of unlocking the doors and
giving her husband his freedom. All the other prisoners and Fernando's
suite, the jailer, his daughter, Marcelline, and Jaquino rejoiced and
sang rapturously of Fernando's goodness. Pizarro was left, still
uncertain of his punishment, but all hoped that he would be made to
take Florestan's place in the dungeon and meet the fate he had
prepared for the much abused noble.

BERLIOZ

"The Damnation of Faust" was first produced as an opera, by Raoul
Gunsburg, in Monte Carlo, about 1903. Before that time it had been
conducted only as a concerted piece. Later it was produced in Paris,
Calve and Alvarez singing the great roles. That was in the late spring
of 1903.

In Europe the opera was produced with the dream scene (the
dream-Marguerite) as in the original plan of Berlioz, but in this
country this dream-Marguerite was omitted, also the rain in the ride
to Hell; otherwise the European and the New York production were much
the same. At the Metropolitan Opera House, in New York, there were
three hundred people upon the stage in the first act, and every
attention was given to scenic detail. This piece is meant for the
concert room, and in no sense for the operatic stage, but great care
and much money have been spent in trying to realize its scenic
demands. As a dramatic production, it cannot compare with the "Faust"
of Gounod, but it has certain qualities of a greater sort, which have
made impresarios desire to shape it for the stage.

Berlioz was probably one of the least attractive of musicians. As a
man, he was entirely detestable. He despised (from jealous rather than