rning over his losses and dishonor; but Bertram promises
to restore everything if he will visit the ruined Abbey of St.
Rosalie, and carry away a mystic branch which has the power of
conferring wealth, happiness, and immortality. He consents; and in the
next scene Bertram pronounces the incantation which calls up the
buried nuns. Dazed with their ghostly fascinations, Robert seizes the
branch and flies. His first use of it is to enter the apartments of
Isabella, unseen by her or her attendants, all of whom become
immovable in the presence of the mystic talisman. He declares his
intention of carrying her away; but moved by her entreaties he breaks
the branch, which destroys the charm. In the last act Bertram is at
his side again, trying to induce him to sign the fatal compact. The
strains of sacred music which he hears, and the recollections of his
mother, restrain him. In desperation Bertram announces himself as his
fiend-father. He is about to yield, when Alice appears and reads to
him his mother's warning against the fiend's temptation. As he still
hesitates, the clock strikes, and the spell is over. Bertram
disappears, and the scene changes to the cathedral, where Isabella in
her wedding robes awaits the saved Robert.

From the musical point of view "Robert le Diable" is interesting, as
it marks the beginning of a new school of grand opera. With this work,
Meyerbeer abandoned the school of Rossini and took an independent
course. He cut loose from the conventional classic forms and gave the
world dramatic music, melodies of extraordinary dramatic force,
brilliant orchestration, stately pageants, and theatrical effects.
"Robert le Diable" was the first of the subsequent great works from
his pen which still further emphasized his new and independent
departure. It is only necessary to call attention to a few prominent
numbers, for this opera has not as many instances of these
characteristics as those which followed and which are elsewhere
described. The first act contains the opening bacchanalian chorus
("Versiamo a tazza plena"), which is very brilliant in character; the
minstrel's song in the same scene ("Regnava un tempo in Normandia"),
with choral accompaniment; and a very tender aria for Alice ("Vanne,
disse, al figlio mio"), in which she delivers his mother's message to
Robert. The second act opens with a spirited duet between Bertram and
Raimbaut, leading up to a powerful and characteristic chorus of the
evil spi