is delay brings Lorenzo upon them. Fra
Diavolo's two companions hide themselves, and the false Marquis alone
is found in Zerline's room. He assures Lorenzo, that he had a
rendez-vous with his bride, and at the same time whispers into Milord's
ear, that he came by appointment with Milady, showing {93} her
portrait, of which he had robbed her the day before, as proof. The
consequence of these lies is a challenge from Lorenzo, and a meeting
with Diavolo is fixed. The latter is full of triumphant glee; he has
arranged a deep-laid plan with the surviving members of his band and
hopes to ensnare not only Lorenzo but his whole company. Ordinarily
Diavolo is a noble brigand; he never troubles women, and he loads poor
people with gifts, taking the gold out of rich men's purses only, but
now he is full of ire and his one thought is of vengeance.

Finally he is betrayed by the carelessness of his own helpmates. Beppo
and Giacomo, seeing Zerline, recognize in her their fair prey of the
evening before and betray themselves by repeating some of the words
which she had given utterance to. Zerline, hearing them, is now able
to comprehend the wicked plot, which was woven to destroy her
happiness. The two banditta are captured and compelled to lure their
captain into a trap. Diavolo appears, not in his disguise as a
Marquis, but in his own well-known dress, with the red plume waving
from his bonnet, and being assured by Beppo, that all is secure, is
easily captured. Now all the false imputations are cleared up. Milord
is reconciled to his wife and Lorenzo obtains the hand of the lovely
Zerline.

{94}

FRAUENLOB.

Opera in three acts by REINHOLD BECKER.

Text by FRANZ KOPPEL-ELLFELD.

Becker, the well-known Dresden composer, has long won name and fame by
his beautiful songs, which may be heard all over the continent. He is
a first-rate "Liedermeister", and great was the excitement, with which
his friends looked forward to his first opera.

Their expectations were not deceived, for the opera was put on the
stage in Dresden on Dec. 8th 1892, and was received with unanimous
applause.

Becker is not one of those high-flown artists who elevate us to the
skies; he rather lacks dramatic strength; the lyric element is his
strong point. By the Lied he finds his way direct to the hearts of his
hearers, and where ever this could be woven into the action of his
opera, he has done it with subtle taste. Tilda's dancing-