house at the Ilsenstein, with an oven on one side
and on the other a cage, both joined to the house by a curious fence
of gingerbread figures. The house itself is constructed of sweets and
creams. Attracted by its delicious fragrance and toothsomeness, the
hungry children break off a piece and are nibbling at it, when the old
witch within surprises and captures them. After a series of
incantations, and much riding upon her broomstick, which are vividly
portrayed in the music, she prepares to cook Gretel in the oven; but
while looking into it the children deftly tumble her into the fire.
The witch waltz, danced by the children and full of joyous abandon,
follows. To a most vivid accompaniment, Hansel rushes into the house
and throws fruit, nuts, and sweetmeats into Gretel's apron. Meanwhile
the oven falls into bits, and a crowd of children swarms around them,
released from their gingerbread disguises, and sing a swelling chorus
of gratitude as two of the boys drag the witch from the ruins of the
oven in the form of a big gingerbread-cake. The father and mother
appear. Their long quest is ended. The family join in singing a pious
little hymn, "When past bearing is our grief, God the Lord will send
relief;" and the children dance joyously around the reunited group.
The story is only a little child's tale, but it is wedded to music of
the highest order. The union has been made so deftly, the motives are
so charming and take their places so skilfully, and the music is so
scholarly and characteristic throughout, that no one has yet
considered this union as incongruous. In this respect "Hansel and
Gretel" is a distinct creation in the operatic world.

LEONCAVALLO.

Ruggiero Leoncavallo, a promising representative of the young Italian
school, was born in Naples, March 8, 1858. He first studied with Siri,
and afterwards learned harmony and the piano from Simonetti. While a
student at the Naples Conservatory he was advised by Rossi, one of his
teachers, to devote himself to opera. In pursuance of this counsel, he
went to Bologna, and there wrote his first opera, "Tommaso
Chatterton," which still remains in manuscript and unperformed. Then
followed a series of "wander years," during which he visited many
European countries, giving lessons in singing and upon the piano, and
meeting with varying fortunes. In all these years, however, he
cherished the plan of producing a trilogy in the Wagnerian manner with
a groundwork from