the conspirators have a meeting in Ankarstroem's
house, where they decide to murder the King. The lots being cast, the
duty to strike the death-blow falls on Ankarstroem, and Malwina herself
draws the fatal paper. At this moment an invitation to a masked ball
is brought by the King's page Oscar, and the conspirators resolve to
take advantage of this opportunity for the execution of their design.

In the last act the King, happy to know Malwina safe from discovery,
resolves to sacrifice his love to honor and friendship. He is about to
give Ankarstroem the proof of his friendship, by naming {18} him
governor of Finland, and the minister is to depart with his wife on the
morning after the ball. Meanwhile the King is warned by a missive from
an unknown hand, not to appear at the ball, but he disregards it. He
meets Malwina at the ball. His page, thinking to do the King a
service, has betrayed his mask to Ankarstroem. Malwina warns the
prince, but in vain, for while he presents her with the paper, which is
to send her and her husband to their own beloved country, Ankarstroem
shoots him through the heart. Gustavus dies, pardoning his murderer.

THE BARBER OF BAGDAD.

Comic Opera in two acts by PETER CORNELIUS.

It took a long time, before this charming little Opera took its place
amongst so many fellow operas much less entitled to notice. The
composer had died 15 years previously, without having gained the
success he so fully deserved, as poet as well as composer.

Liszt, the great redeemer of many a tried genius brought the opera upon
the stage on the 15th of December 1858 in Weimar.

But the Intendant Dingelstedt was against him, the opera proved an
entire failure, though it was meant more as demonstration against Liszt
than against the opera. Liszt, tired of these disgraceful intrigues,
quitted Weimar, only to return there from time to time in private.
With his abdication {19} Weimar's glorious time was passed. In 1889 at
last the Barber of Bagdad took its rightful place after many years of
oblivion.

Munich, Mannheim and Vienna came first and the music having been
enthusiastically applauded, Dresden followed the good example in
October 1890. The music is full of sweet melody, the composition
masterfully set. Its comic parts are not quite natural, but the lyric
is almost classical and the text, written by the composer himself,
though lacking in action, shows, that Cornelius was a true poet as we