, Bertha, who has escaped, rushes in and claims his
protection. He conceals her; but has hardly done so when the Count
enters with his soldiers, bringing Fides as a prisoner, and threatens
to kill her unless Bertha is given up. He hesitates; but at last, to
save his mother's life, delivers Bertha to her pursuers. Mother and
son are left alone, and she seeks to console him. In this scene occurs
one of the most dramatic and intense of Meyerbeer's arias ("O figlio
mio, che diro"), known more popularly by its French words, beginning,
"Ah! mon fils." It has enjoyed a world-wide popularity, and still
holds its place in all its original freshness and vigor. Fides hardly
disappears before the ominous chant of the Anabaptists is heard again.
He does not need much persuasion now. They make their compact in a
quartet of magnificent power, which closes the act; and some of John's
garments are left behind stained with blood, that his mother may
believe he has been killed.

The third act opens in the Anabaptists' camp in a Westphalian forest,
a frozen lake near them, and Munster, which they are besieging, in the
distance. In the second scene Zacarie sings a stirring pasan of
victory ("In coppia son"), followed by the beautiful ballet music of
the skaters as they come bringing provisions to the troops. Count
Oberthal meanwhile has been taken prisoner and brought into camp. A
buffo trio between himself and his captors follows, in which Gione
penetrates his disguise and recognizes him. They are about to fall
upon him; but John, learning from him that Bertha is still alive and
in Munster, saves his life. He immediately resolves to take the place
by assault, rouses his followers with religious chants of a martial
character, and the act concludes with the march on the city.

The fourth act opens in the city itself after its capture. A mendicant
appears in the public square begging for bread. It is Fides; and in a
plaintively declamatory aria of striking power ("Pieta! pieta!") she
implores alms. She meets with Bertha disguised as a pilgrim, and bent
upon the destruction of the Prophet, who, she believes, has been the
cause of John's death. The next scene opens in the cathedral, where
the coronation of the Prophet is to take place; and among all
Meyerbeer's pageants none are more imposing than this, with its
accompaniment of pealing bells, religious chants, the strains of the
organ, and the stately rhythms of the great Coronation March. It