that Cellini, thoughtless like all artists, has
not kept his promise. Hearing him moreover accused by Balducci, he
threatens severe punishment and finally declares that Perseus shall be
cast by another.--Cellini in the pride of genius and full of rage
seizes a hammer, and, surrounded by his workmen declares, that he will
rather destroy his work than see it finished by another.

The Cardinal, overcome by fear of the loss, changes his tactics, and in
compliance with Cellini's request promises him full pardon and Teresa's
hand, if he finishes Perseus in an hour's time, as Cellini offers to
do.--Should he fail in his gigantic task, his life will be forfeit.

All set to work at once; even Fieramosca at the Cardinal's request
assists. More and more metal is demanded; Cellini sacrifices all his
masterpieces in gold and silver. At last the casting is completed,
Cellini breaks the mould and the statue {30} of Perseus shines
faultlessly forth, a wonder of art, a thing of glory bringing
immortality to its maker. All present bend before the greatness of
genius and Fieramosca, the rival in art and love is the first to kiss
and embrace Cellini, who obtains full pardon and the hand of Teresa
along with her father's blessing.

BY ORDER OF HIS HIGHNESS

(AUF HOHEN BEFEHL.)

Comic Opera in three acts by CARL REINECKE.

Text by the composer after RIEHL's novel: "Ovidius at Court."

Reinecke of Leipzig is known both as excellent pianist and composer of
no ordinary talent. The Dresden theatre has been one of the first to
put the new opera upon its boards and with regard to the music, the
expectations entertained have been fully realised.

It is true music, melodious and beautiful. Reinecke's musical language
free, untrammelled and suggestive, only assumes decided form in the
character of a song, or when several voices are united. The
instrumentation is very interesting and the popular melody remarkably
well characterized.

So he introduces for instance the wellknown popular song: "Kein Feuer,
keine Kohle" (no fire, no coal can burn) with the most exquisite
variations.

The libretto is not as perfect as the music, being rather improbable.

A little German Residential Capital of the last century forms the
background to the picture.

{31}

Franz, the son of the Organist Ignaz Laemml, introduces himself to Dal
Segno, the celebrated Italian singing-master as the Bohemian singer
Howora. He obtains lessons from the