d in every fine work, and
eminently favorable to music, is well worked out. What can be finer than
a whole nation demanding liberty, held in bondage by bad faith, upheld
by God, and piling marvel on marvel to gain freedom? What more dramatic
than the Prince's love for a Hebrew woman, almost justifying treason to
the oppressor's power?

"And this is what is expressed in this bold and stupendous musical poem;
Rossini has stamped each nation with its fantastic individuality, for
we have attributed to them a certain historic grandeur to which every
imagination subscribes. The songs of the Hebrews, and their trust in
God, are perpetually contrasted with Pharaoh's shrieks of rage and vain
efforts, represented with a strong hand.

"At this moment Osiride, thinking only of love, hopes to detain his
mistress by the memories of their joys as lovers; he wants to conquer
the attractions of her feeling for her people. Here, then, you will find
delicious languor, the glowing sweetness, the voluptuous suggestions
of Oriental love, in the air '_Ah! se puoi cosi lasciarmi_,' sung by
Osiride, and in Elcia's reply, '_Ma perche cosi straziarmi?_' No; two
hearts in such melodious unison could never part," she went on, looking
at the Prince.

"But the lovers are suddenly interrupted by the exultant voice of the
Hebrew people in the distance, which recalls Elcia. What a delightful
and inspiriting _allegro_ is the theme of this march, as the Israelites
set out for the desert! No one but Rossini can make wind instruments
and trumpets say so much. And is not the art which can express in two
phrases all that is meant by the 'native land' certainly nearer to
heaven than the others? This clarion-call always moves me so deeply that
I cannot find words to tell you how cruel it is to an enslaved people to
see those who are free march away!"

The Duchess' eyes filled with tears as she listened to the grand
movement, which in fact crowns the opera.

"_Dov' e mai quel core amante_," she murmured in Italian, as la Tinti
began the delightful _aria_ of the _stretto_ in which she implores pity
for her grief. "But what is the matter? The pit are dissatisfied--"

"Genovese is braying like a stage," replied the Prince.

In point of fact, this first duet with la Tinti was spoilt by Genovese's
utter breakdown. His excellent method, recalling that of Crescentini
and Veluti, seemed to desert him completely. A _sostenuto_ in the wrong
place, an embellishment