dor").
The third act contains the beautiful aria, "O mio Fernando!" which is
a favorite with all contraltos. It is remarkable for its warmth and
richness, as well as its dramatic spirit, and the act closes with a
concerted finale of splendid power, in which Fernando breaks his
sword, and once more Balthasar anathematizes the King. The fourth act
is the most beautiful of all in its music and the most powerful in
dramatic effect. The chorus of monks in the first scene ("Scaviam
l'asilo") is remarkable for its religious character and solemnity. In
the third scene occurs one of the tenderest and loveliest romanzas
ever written ("Spirto gentil"), which Donizetti transferred to this
work from his opera, "Le Duc d'Albe," which had not been performed,
and the libretto of which was originally written by Scribe for
Rossini. The closing duet between Fernando and Leonora is full of
pathos and beauty, and forms a fitting close to an act which, in one
sense at least, is an inspiration, as the whole act was composed in
four hours,--a proof of the marvellous ease and facility with which
Donizetti wrote.

DON PASQUALE.

"Don Pasquale," an opera buffa in three acts, was first produced at
the Theatre des Italiens in Paris, Jan. 4, 1843, with the following
extraordinary cast:

NORINA Mme. GRISI.
ERNESTO Sig. MARIO.
DR. MALATESTA Sig. TAMBURINI.
DON PASQUALE Sig. LABLACHE.

The scene of this brilliant and gay little opera is laid in Rome. Don
Pasquale is in a rage with Ernesto, his nephew, because he will not
marry to suit him. Dr. Malatesta, his friend and physician, who is
also very much attached to the nephew, contrives a plot in the
latter's interest. He visits the Don, and urges him to marry a lady,
pretending that she is his sister, though in reality she is Norina,
with whom Ernesto is in love. He then calls upon Norina, and lets her
into the secret of the plot, and instructs her how to play her part.
She is to consent to the marriage contract, and then so harass the Don
that he will not only be glad to get rid of her, but will give his
consent to her marriage with Ernesto. The second act opens in Don
Pasquale's house, where Ernesto is bewailing his fate. The Don enters,
magnificently dressed, and ready for the marriage. Norina appears with
Malatesta, and feigns reluctance to enter into the contract; but when
the notary arrives she consents to sign. No sooner, however, has she