urges him to enlist. The bonus of twenty
crowns is a temptation. Nemorino enlists, takes the money, hurries to
the quack, and obtains a second bottle of the elixir, which is much
more powerful than the first. In the next scene the girls of the
village have discovered that Nemorino's uncle has died and left him
all the property, though Nemorino himself has not heard of it. They
crowd about him, trying to attract his attention with their charms and
blandishments. He attributes his sudden popularity to the effects of
the elixir, and even the quack is somewhat bewildered at the
remarkable change. Nemorino now determines to pay Adina off in kind,
and at last rouses her jealousy. Meanwhile Dulcamara acquaints her
with the effects of the elixir and advises her to try some of it, and
during the interview inadvertently informs her of Nemorino's
attachment for her. Struck with his devotion, she repays the sergeant
herself, announces her change of mind, and bestows her hand upon the
faithful Nemorino. Like "Don Pasquale," the opera is exceedingly
graceful in its construction, and very bright and gay in its musical
effects, particularly in the duets, of which there are two,--one
between Dulcamara and Nemorino in the first act ("Obbligato, ah! si
obbligato"), and one between Dulcamara and Adina in the second act
("Quanto amore! ed io spietata"), which are charming in their spirit
and humor. There is also an admirable buffo song in the first act,
beginning with the recitative, "Udite, udite, o rustici," in which the
Doctor describes his wares to the rustics, and a beautiful romanza in
the second act for tenor ("Una furtiva lagrima"), which is of
world-wide popularity, and bears the same relation to the general
setting of the work that the Serenade does to "Don Pasquale."

LUCREZIA BORGIA.

"Lucrezia Borgia," an opera in three acts, words by Romani, was first
produced at La Scala, Milan, in 1834. The subject was taken from
Victor Hugo's tragedy of the same name, and its text was freely
adapted by Romani. When it was produced in Paris, in 1840, Victor Hugo
took steps to suppress any further representations. The libretto was
then rewritten, under the title of "La Rinegata," the Italian
characters were changed to Turks, and in this mutilated form the
performances were resumed. It was in this opera that Signor Mario made
his English debut, in 1839, with great success. Its first presentation
in English was at London, Dec. 30, 1843.