he
incidents of 'The Taming of the Shrew' very closely. The action begins
at night. Lucentio is serenading Bianca, but his ditty is interrupted by
a riot among Baptista's servants, who refuse to submit any longer to
Katharine's ill-treatment. Peace is restored, and Lucentio resumes his
song. A second interruption is in store for him in the shape of
Hortensio, another of Bianca's suitors, also upon serenading bent.
Baptista, angry at being disturbed again by the quarrels of the rival
musicians, dismisses them with the information that Bianca shall be
bestowed upon neither of them until Katharine is wedded. Petruchio now
enters, and fired with Hortensio's description of Katharine's beauty and
spirit, vows to make her his own.

The second act begins with a scene between Katharine and her sister,
which conclusively proves that the reports of the former's shrewishness
have not exceeded the truth. Hortensio and Lucentio, disguised
respectively as a music master and a teacher of languages, are now
ushered in, and receive most uncourteous treatment at Katharine's hands.
The act ends with Petruchio's wooing of Katharine, and the settlement of
their wedding-day. In the third act comes the marriage of Petruchio and
Katharine, and the fourth act shows the taming of the shrew in strict
accordance with Shakespeare's comedy. Goetz's music brims over with
frolicsome humour and gaiety, and the more serious portions are tender
without being sentimental. The influence of Wagner is more plainly seen
in the musicianly development of the melodies than in their employment
as guiding themes, though of this, too, there are not a few instances.
But the parts of the work in which Goetz's indebtedness to Wagner are
most apparent are the choruses, which, both in their tunefulness and in
the elaborate nature of the part-writing, often recall 'Die
Meistersinger,' and in the orchestration, which is extraordinarily
fanciful and imaginative. 'Der Widerspaenstigen Zaehmung' has never been
properly appreciated in this country, in spite of the familiar nature of
the libretto. Goetz left another opera, 'Francesca da Rimini,'
unfinished. This was completed by his friend Ernst Frank, but has never
met with much success.

Cornelius and Goetz would have been the first to admit the influence
which Wagner's works exercised upon their imagination, yet their
admiration for his music never seduced them into anything like mere
imitation. The operas of Carl Goldmark