es have been so moved by Stradella's singing that they
hesitate in their purpose. Bassi enters and upbraids them, and
finally, by the proffer of a still larger sum, induces them to consent
to carry out his design. They conceal themselves. Stradella returns
and rehearses a hymn to the Virgin which he is to sing at the
festivities on the morrow. Its exquisite beauty touches them so deeply
that they rush out of their hiding-place, and falling at his feet
confess the object of their visit and implore his forgiveness. Leonora
enters, and is astonished to find her guardian present. Explanations
follow, a reconciliation is effected, and the lovers are happy. The
denouement differs from the historical story, which, according to
Bonnet, Bourdelot, and others, ends with the death of the lovers at
Genoa, at the hands of the hired assassins.

The opera is one of the most charming of Flotow's works for its apt
union of very melodious music with dramatic interest. Its most
beautiful numbers are Stradella's serenade ("Horch, Liebchen,
horch!"), the following nocturne ("Durch die Thaeler, ueber Huegel"), the
brilliant and animated carnival chorus ("Freudesausen, Jubelbrausen")
of the masqueraders who assist in the elopement, in the first act; the
aria of Leonora in her bridal chamber ("Seid meiner Wonne"), the
rollicking drinking-song of the two bravoes ("'Raus mit dem Nass aus
dem Fass") and the bandit ballad ("Tief in den Abruzzen ") sung by
Stradella, in the second act; an exquisite terzetto ("Sag doch an,
Freund Barbarino") sung by Bassi and the two bravoes when they
hesitate to perform their work, and Stradella's lovely hymn to the
Virgin ("Jungfrau Maria! Himmlisch verklaerte"), in the last act.

GLUCK.

Christoph Willibald Gluck, one of the most eminent of German operatic
composers, was born at Weidenwang in the Upper Palatinate, July 2,
1714. He began his musical studies in a Bohemian Jesuits' School at
the age of twelve. In his eighteenth year he went to Prague, where he
continued his education with Czernhorsky. Four years later he was
fortunate enough to secure Prince Melzi for a patron, who sent him to
Milan, where he completed his studies with Sammartini. From 1741 to
1745 he produced numerous operas, which were well received, and in the
latter year visited London, where he brought out several works, among
them "La Caduta de' Giganti." His English experience was far from
satisfactory, and he soon returned to German