o in that line.--A loud
ring soon puts an end to the performance While the jailer conducts
Adele and Ida to No. 13, Eisenstein arrives and gives himself up.
Franck and he are much surprised to find themselves face to face with
each other in prison, after each had been led to suppose the other a
marquis, at the fete. They are naturally much amused to learn each
other's identity. Meanwhile Dr. Blind enters, to undertake the defense
of the impostor Eisenstein. He turns out to be the genuine Eisenstein,
who again turns Blind out of door, and possesses himself of his cap and
gown and of his spectacles, in which he interviews his double.--Alfred
has been brought in from his cell, when Rosalind also enters, carrying
her husband's watch, and prepared for revenge. Both Alfred and she
alternately state their grievances to the supposed lawyer, who quite
loses his temper, when he learns of Alfred's tete a tete with his wife,
and how completely she has fooled him. Throwing off his disguise, he
reveals his identity, only to be reviled by his wife {484} for his
treachery. He in turn vows to revenge himself on Rosalind and on her
admirer, but the entrance of Dr. Falck, followed by all the guests who
were at Prince Orlofsky's fete, clears up matters for all concerned.
While making fun of the discomfited Eisenstein, he explains that the
whole thing is a huge practical joke of his invention which he has
played on Eisenstein in return for the trick Eisenstein played on him
years ago, which he related at the fete. All the guests had been
bidden to the fete by Dr. Falck with the consent of the prince in order
to deceive Eisenstein. The latter, when convinced of his wife's
innocence, embraces her. All toast one another in champagne, which
they declare to be the King of Wines.

FLAUTO SOLO.

An Opera in one Act by EUGENE D'ALBERT. Libretto by HANS VON WOLZOGEN.

D'Albert's new attempt at an opera secured an even greater success than
his "Departure", which is still constantly given at the Dresden Opera.

"Flauto Solo" had a brilliant first night performance in Dresden in
August 1906, both because of the unusually charming music, which is a
masterly imitation of the compositions in vogue during the Roccocco
period, and also for its remarkably clever libretto. The latter
required no little ingenuity, since it is a medley of no less than
three languages.

{485}

The fact, that Flauto Solo contains a plot, which is founded