quite
literally taken from Shakspeare, with an episode, however, in the form
of a temporary interruption by Gregory and retainers, whose appearance
is rather absurd than otherwise. The third act is constructed in two
scenes. The first is in the friar's cell, where the secret marriage of
the lovers takes place. In the second, we are introduced to a new
character, invented by the librettist,--Stephano, Romeo's page, whose
pranks while in search of his master provoke a general quarrel, in
which Mercutio is slain by Tybalt, who in turn is killed by Romeo.
When Capulet arrives upon the scene he condemns Romeo to banishment,
who vows, however, that he will see Juliet again at all hazards. The
fourth act is also made up of two scenes. The first is in Juliet's
chamber, and is devoted to a duet between the two lovers. Romeo departs
at dawn, and Capulet appears with Friar Laurence and announces his
determination that the marriage with Paris shall be celebrated at once.
Juliet implores the Friar's help, and he gives her the potion. The next
scene is devoted to the wedding festivity, in the midst of which Juliet
falls insensible from the effects of the sleeping-draught. The last act
transpires in the tomb of the Capulets, where Romeo arrives, and
believing his mistress dead takes poison. Juliet, reviving from the
effects of the potion, and finding him dying, stabs herself with a
dagger, and expires in his arms.

While many numbers are greatly admired, the opera as a whole has never
been successful. Had not "Faust," which it often recalls, preceded it,
its fate might have been different. Still, it contains many strong
passages and much beautiful writing. The favorite numbers are the
waltz arietta, very much in the manner of the well-known "Il Bacio,"
at the Capulet festival, the Queen Mab song, by Mercutio ("Mab, regina
di menzogne"), and the duet between Romeo and Juliet ("Di grazia, t'
arresta ancor!"), in the first act; the love music in the balcony
scene of the second act, which inevitably recalls the garden music in
"Faust;" an impressive solo for Friar Laurence ("Al vostro amor
cocente"), followed by a vigorous trio and quartet, the music of which
is massive and ecclesiastical in character, and the page's song ("Ah!
col nibbio micidale"), in the third act; the duet of parting between
Romeo and Juliet, "Tu dei partir ohime!" the quartet, "Non temero mio
ben," between Juliet, the nurse, Friar Laurence, and Capulet, and the
dra