opera, to be revived once or twice a year in
order to give a popular singer an opportunity for vocal display. Yet
there are passages in it of considerable dramatic power, and many of the
melodies are fresh and expressive. The plot is founded upon 'The Bride
of Lammermoor,' but it is Scott's tragic romance seen through very
Italian spectacles indeed. Henry Ashton has promised the hand of his
sister Lucy to Lord Arthur Bucklaw, hoping by means of this marriage to
recruit the fallen fortunes of his house. Lucy loves Edgar Ravenswood,
the hereditary foe of her family, and vows to be true to him while he is
away on an embassy in France. During his absence Ashton contrives to
intercept Ravenswood's letters to his sister, and finally produces a
forged paper, which Lucy accepts as the proof of her lover's infidelity.
She yields to the pressure of her brother's entreaties, and consents to
marry Lord Arthur. No sooner has she set her name to the contract than
the door opens and Edgar appears. Confronted with the proof of Lucy's
inconstancy, he curses the house of Lammermoor and rushes away. Ashton
follows him, and, after a stormy interview, challenges him to mortal
combat. Meanwhile, on her bridal night Lucy has lost her reason and in
her frenzy stabbed her unfortunate bridegroom. On coming once more to
her senses, she puts an end to her own life; while Edgar, on hearing of
the tragedy, betakes himself to the tombs of his ancestors and there
commits suicide. Much of the music suffers from the conventionality to
which Donizetti was a slave, notably the ridiculous mad scene, a
delightfully suave melody ending with an elaborate cadenza divided
between the voice and flute; but there are passages of real power, such
as the fine sextet in the contract scene, and the gloomy air in which
the hero calls upon the spirits of his forefathers.

Less sombre than 'Lucia,' and quite as tuneful, is 'Lucrezia Borgia,'
once a prime favourite at Covent Garden, but now rarely heard. Lucrezia
Borgia, the wife of Alfonso of Ferrara, has recognised Gennaro, a young
Venetian, as an illegitimate son of her own, and watches over him with
tender interest, though she will not disclose the real relation in which
they stand to one another. Gennaro, taunted by his friends with being a
victim of Lucrezia's fascinations, publicly insults her, and is
thereupon condemned to death by the Duke, who is glad of the opportunity
of taking vengeance upon the man whom he be