eing the last one left, Mujko begins to count,
when Magdalen slowly approaches the King, singing softly: "Take my
life, take my all, I will greet thee as my lady, thou, a King's
Consort."

Now the King recognises at last his lost lady love. Pushing back
Verona, whom Mujko has presented to him he cries: "I choose the black
haired one!" and throwing off his disguise he embraces Magdalen.--

The bells of the royal chapel now begin to ring, and the priests
receive and bless the three happy bridal couples.

As they leave the chapel they are met by the Paladin, ready to marry
his niece to the King.

But Matthias, seizing Magdalen's hand, proclaims her his Consort, and
all hail her as Hungary's Queen.

TIEFLAND.

(THE LOWLANDS.)

A musical Drama in two acts and a Prelude by EUGENE D'ALBERT.

Text after A. Guivera by RUDOLPH LOTHAR.

With this work the gifted composer has gained a footing, which promises
to be permanent in the musical world, for the opera has been accepted
by {507} all the leading theatres in Germany and Austria, and its
performances in Berlin, in Prague, in Dresden and in Vienna have found
uniform appreciation.

D'Albert's strongest point is his orchestration, which is admirably
adapted to the text. His music, if lacking a personal note is always
noble, harmonious and perfectly clear and agreeable to the ear.

The Prelude is on the whole the finest part of the drama. The broad
flowing motive of the shepherd's pipe is the incarnation of peace and
pure nature, the musical transition from the Prelude to act I is one,
of the best things, that D'Albert ever did, and the peasant scenes, the
trio of the three mocking village lasses are of the most enlivening
freshness.

The text is ultra realistic, almost brutal.

The name "Tiefland" has a double meaning; this we learn from the
Prelude.--

The plot is laid in the Pyrenees. Pedro, the shepherd lives alone in
the high and clear mountain air. His one wish is to have a companion,
a wife. This desire is realised by the arrival of Sebastiano, supposed
to be a wealthy landowner, who offers Pedro a mill and a bride in the
person of Marta.

The girl is Sebastiano's mistress, but financial difficulties compel
him to get rid of her, in order to avoid scandal and to obtain a rich
bride.

The simple and unsuspecting Pedro accepts the unexpected gifts with
delight, not heeding Marta's reluctance, and so he leaves the clear
physical and moral at