s more declamatory than melodious, as
compared with "The Huguenots." In this sense it was disappointing when
first produced.

The period of the opera is 1534. The first act transpires in Dordrecht
and Leyden, in Holland, and the other three in Munster, Germany. The
text closely follows the historical narrative of the period when
Munster was occupied by John of Leyden and his fanatics, who, after he
had been crowned by them as Emperor of Germany, was driven out by the
bishop of the diocese. The first act opens in the suburbs of
Dordrecht, near the Meuse, with the chateau of Count Oberthal, lord of
the domain, in the distance. After a very fresh and vigorous chorus of
peasants, Bertha, a vassal of the Count, betrothed to John of Leyden,
enters and sings a cavatina ("Il cor nel sento"), in which she gives
expression to emotions of delight at her approaching union. As she
cannot go to Leyden, where the marriage is to take place, without the
Count's consent, Fides, the mother of John, joins her to make the
request. In the mean time the three Anabaptists, Zacarie, Gione, and
Mathisen, leaders of the revolt in Westphalia, arrive on their mission
of raising an insurrection in Holland, and in a sombre trio of a
religious but stirring character ("O libertade") incite the peasants
to rise against their rulers. They make an assault upon the castle of
Count Oberthal, who speedily repels them, and turns the tide of
popular feeling against the Anabaptists, by recognizing Gione as a
former servant who had been discharged from his service for
dishonesty. Fides and Bertha then join in a romanza ("Della mora un
giorno"), imploring his permission for the marriage of Bertha and
John. The Count, however, struck with her beauty, not only refuses,
but claims her for himself, and seizes both her and Fides, and the act
closes with a repetition of the warning chant of the Anabaptists.

The second act opens in the hostelry of John of Leyden, and is
introduced with a waltz and drinking-chorus, in the midst of which the
Anabaptists arrive and are struck with his resemblance to a portrait
of David in the Munster Cathedral. From a very descriptive and highly
wrought scena ("Sotto le vasti arcati") sung by him they also learn
that he is given to visions and religious meditations. They assure him
that he shall be a ruler; but in a beautiful romanza ("Un impero piu
soave") he replies that his love for Bertha is his only sovereignty.
Just as they depart