his avowal of love to her. The arrangement
of the two lessons is both unique and skilful. Lucentio turns the
familiar opening lines of the AEneid, "Arma virumque cano," etc., into
a love-song by declarations interposed between them; while Hortensio
explains the mysteries of the scale to her, each line of his love-song
beginning with one of its letters. It is soon found, however, that
Lucentio is the accepted lover. Baptista now enters and announces
Petruchio's return, which leads to a charming quartet. The finale of
the opera, which is very spirited, includes the preparations for the
marriage-feast, the wedding, and the scene in which Petruchio abruptly
forces his bride to leave with him for his country house.

GOLDMARK.

Karl Goldmark was born at Keszthely, Hungary, May 18, 1832. He first
studied with the violinist Jansa at Vienna, and in his fifteenth year
entered the Conservatory in that city. Little is known of the events
of his early life. Indeed, his success in his profession is generally
credited more to his native ability and industry than to the influence
of teachers or schools. He began composition at an early period, and
produced his works in concerts with much success under the
encouragement of Hellmesberger and others, who recognized his ability
before he had made any impression out of Vienna. Four of his
compositions during the past fifteen years, the "Sakuntala" overture,
the operas "The Queen of Sheba" and "Merlin," and "Die Iaendliche
Hochzeit" (The Country Wedding) symphony have made a permanent
reputation for him. The overture and operas have been performed
several times in this country. Besides these he has written several
pieces of chamber music.

THE QUEEN OF SHEBA.

"The Queen of Sheba" was first produced in Vienna, March 10, 1875, and
was first heard in this country at New York, Dec. 2, 1885, when the
cast was as follows:--

KING SOLOMON Herr ROBINSON.
HIGH-PRIEST Herr FISCHER.
SULAMITH Frauelein LEHMANN.
ASSAD Herr STRITT.
BAAL HANAN Herr ALEXI.
QUEEN OF SHEBA Frau KRAMER-WEIDL.
ASTAROTH Frauelein BRANDT.

The libretto by Mosenthal is one of rare excellence in its skilful
treatment of situations and arrangement of scenes with the view to
spectacular and dramatic effect. The Biblical story has but little to
do with the action of the opera beyond the mere fact of the famous
visit of the Queen of Sheba to Solomon. The sti