zing energy and
spirit, if with an occasional suggestion of brutality. 'Zaza' (1900),
founded upon a French play which recently achieved a scandalous
notoriety, has found little favour even in Italy. Leoncavallo's latest
work, 'Der Roland,' was written in response to a commission from the
German Emperor, who believed that he had found in the composer of 'I
Medici' a musician worthy to celebrate the mighty deeds of the
Hohenzollerns. 'Der Roland' was produced in a German version at Berlin
in 1904, and in spite of Court patronage failed completely.

Umberto Giordano, who during the last few years has steadily worked his
way to the front rank of Italian composers, started his career with a
_succes de scandale_ in 'Mala Vita' (1892), a coarse and licentious
imitation of 'Cavalleria Rusticana.' There is far better work in 'Andrea
Chenier' (1896), a stirring tale of the French Revolution set to music
which shows uncommon dramatic power and in certain scenes a fine sense
of lyrical expression. After a good deal of preludial matter the plot
centres in the rivalry of Chenier the poet and Gerard, a revolutionary
leader, for the hand of Madeleine. Gerard condemns Chenier to death, but
is melted by Madeleine's pleading, and rescinds the order for his
execution. The pardon, however, comes too late, and Madeleine and
Chenier ascend the scaffold together, in an ecstasy of lyrical rapture.
'Fedora' (1898), an adaptation of Sardou's famous drama, has less
musical interest than 'Andrea Chenier,' the breathless incidents of the
plot giving but little scope for musical treatment. The first act shows
the death of Vladimir, the police investigation and Fedora's vow to
discover the murderer. In the second Fedora extorts from Loris Ipanoff a
confession of the vengeance that he wreaked upon the perfidious
Vladimir, and, finding Loris innocent and Vladimir guilty, in a sudden
revulsion of feeling throws herself into Loris's arms, bidding him stay
with her rather than leave the house to fall into the hands of spies. In
the third act Fedora, certain of detection, confesses to Loris her
previous machinations against him, which have resulted in the deaths of
his mother and brother, and takes poison before his eyes. Giordano
touched a far higher level in 'Siberia' (1903), a gloomy tale of
Russian crime and punishment. Stephana, a courtesan, among all her
lovers cares only for the young sergeant Vassili. Vassili, who has
learnt to love her, not knowin