be consoled and hurries away notwithstanding
Sophia's entreaties, vowing never to return.

The third Act takes place in Lotte's drawing-room. She is sitting
alone in deep thought. Werther's frequent and passionnate letters have
{416} reawakened her dormant love for him and her sister, coming in
laden with Christmas parcels, finds her in tears. Unable to console
Lotte, Sophia takes her leave after inviting her to spend Christmas Eve
at her old home.--

Hardly has she gone when Werther appears. Unable to keep away from
Lotte any longer he reminds her of her invitation for Christmas, and
seeing his letters spread out on the table he guesses that Lotte
returns his love.--An impassioned love-scene follows.--Half unconscious
Lotte sinks into his arms, but the first kiss of her lover brings her
to herself. Tearing herself from his embrace she flees into her room
and bolts the door. After vain remonstrations Werther rushes out
half-crazed.

Albert returning home finds no one in and calls Lotte. She appears
pale and distressed, and her husband perceives that something is wrong.
Before she can reply to his questions a servant brings in a note from
Werther, asking Albert for his pistol. The husband forces his unhappy
wife to hand the weapon to the servant herself. As soon as Albert has
gone Lotte seizes her hat and cloak and hastens out to prevent the
impending calamity. Alas! she comes too late.--The last scene shows
Werther's room, which is dimly lighted by the moon. The
Christmas-bells are tolling when Lotte enters, calling her lover by
name.--She discovers him lying on the floor mortally wounded.--Now that
he is lost to her for ever she pours out all her love and for a brief
space calls him back {417} to life and sweetens his last moments by a
first kiss. He expires in her arms while from the opposite house the
children's voices are heard singing their Christmas song.

THE DEPARTURE.

Comic Opera in one Act.

Libretto by A. VON STEIGENTESCH (end of 18th century).

Arranged by FERDINAND COUNT SPORCK.

With Music by EUGENE D'ALBERT.

By this opera the young composer, whose previous dramatic efforts were
to a certain extent unsuccessful, has proved that his forte lies in
comic opera.

The Departure was given in Dresden in October 1900, and was a complete
success.

The whole opera teems with bright and merry melodies, wrought-in with
consumate art, and the text, though somewhat frivolous is arti