ch an uproar, that all the
neighbors and finally the guards appear, who counsel the Count to
retire for once.

In the second act the Count gains entrance to Bartolo's house as a
singing-master who is deputed to give a lesson instead of the
feverstricken Basilio. Of course the music-lesson is turned into a
love-lesson.

When all seems to be going well, the real Maestro, Basilio, enters and
all but frustrates their plans. With gold and promises Figaro bribes
him to retreat, and the lovers agree to flee on the coming night.

Almost at the last moment the cunning of Bartolo hinders the projected
elopement, he shows a letter, which Rosina has written, and makes
Rosina believe that her lover, whom she only knows as Lindoro, in
concert with Figaro is betraying her to the Count. Great is her joy,
when she detects, that Lindoro and Count Almaviva are one and the {25}
same person, and that he loves her as truly as ever.--They bribe the
old notary, who has been sent for by Bartolo to arrange his own
(Bartolo's) wedding with Rosina. Bartolo signs the contract of
marriage, with Figaro as witness, and detects too late that he has been
duped, and that he has himself united the lovers. At last he submits
with pretty good grace to the inevitable, and contents himself with
Rosina's dowry, which the Count generously transfers to him.

BENVENUTO CELLINI.

Opera in three acts by HECTOR BERLIOZ.

Text by de WAILLY and BARRIER, translated into German by PETER
CORNELIUS.

This opera by the spirited French musician has had a singular fate.
Composed more than forty years ago it never had the success it merited
in France; a "succes d'estime" was the only result. Liszt, who was the
saviour of many a talented struggler was the first to recognize the
genius of the French composer. He brought the opera out upon the stage
at Weimar, but without much success. Berlioz was not understood by the
public. Devrient in Carlsruhe tried a similar experiment and failed,
and so the opera was almost forgotten, until Germany, remembering the
duty owed to genius of whatever nationality it may be, placed it upon
the stage in Dresden, on the 4th of Nov. 1888 under the leadership of
one of the ablest of modern interpreters of music, Director
Schuch.--Its representation was {26} a triumph. Though Berlioz can in
nowise be compared with Wagner, whose music is much more realistic and
sensuous Wagner may nevertheless be said to have opened a path