d popularity in their time.
But the prince of opera comique at this time was Auber (1782-1871).
Auber began his career as a musician comparatively late in life, but _en
revanche_ age seemed powerless to check his unflagging industry. His
last work, 'Le Reve d'Amour,' was produced in the composer's
eighty-eighth year. Auber is a superficial Rossini. He borrowed from the
Italian master his wit and gaiety; he could not catch an echo of his
tenderness and passion. Auber has never been so popular in England as
abroad, and the only two works of his which are now performed in this
country--'Fra Diavolo' and 'Masaniello'--represent him, curiously
enough, at his best and worst respectively. The scene of 'Fra Diavolo'
is laid at a village inn in Italy. Lord and Lady Rocburg, the
conventional travelling English couple, arrive in great perturbation,
been stopped by brigands and plundered of some of their property. At the
inn they fall in with a distinguished personage calling himself the
Marquis di San Marco, who is none other than the famous brigand chief
Fra Diavolo. He makes violent love to the silly Englishwoman, and soon
obtains her confidence. Meanwhile Lorenzo, the captain of a body of
carabineers, who loves the innkeeper's daughter Zerlina, has hurried off
after the brigands. He comes up with them and kills twenty, besides
getting back Lady Rocburg's stolen jewels. Fra Diavolo is furious at the
loss of his comrades, and vows vengeance on Lorenzo. That night he
conceals himself in Zerlina's room, and, when all is still, admits two
of his followers into the house. Their nocturnal schemes are frustrated
by the return of Lorenzo and his soldiers, who have been out in search
of the brigand chief. Fra Diavolo is discovered, but pretends that
Zerlina has given him an assignation. Lorenzo is furious at this
accusation, and challenges the brigand to a duel. Before this comes off,
however, Fra Diavolo's identity is discovered, and he is captured by
Lorenzo and his band. 'Fra Diavolo' shows Auber in his happiest vein.
The music is gay and tuneful, without dropping into commonplace; the
rhythms are brilliant and varied, and the orchestration neat and
appropriate.

'La Muette de Portici,' which is known in the Italian version as
'Masaniello,' was written for the Grand Opera. Here Auber vainly
endeavoured to suit his style to its more august surroundings. The
result is entirely unsatisfactory; the more serious parts of the work
are pret