nt,
which, as the moonlight falls about her, develops into the famous
"Shadow Song," a polka mazurka, which she sings and dances to her
shadow. The aria, "Ombra leggier," is fairly lavish in its texture of
vocal embroidery, and has always been a favorite number on the concert
stage. The next scene changes to the Val Maudit (the Cursed Vale), a
rocky, cavernous spot, through which rushes a raging torrent bridged
by a fallen tree. Hoeel and Corentin appear in quest of the treasure,
and the latter gives expression to his terror in a very characteristic
manner, with the assistance of the orchestra. Dinorah is heard singing
the legend of the treasure ("Chi primo al tesor"), from which Corentin
learns that whoever touches it first will die. He refuses to go on,
and a spirited duet ensues between them, which is interrupted by the
entrance of Dinorah and her goat. Hoeel, fancying it is a spirit sent
to keep him back, sings a very beautiful aria ("Le crede il padre").
The act closes with the fall of Dinorah, who attempts to cross the
bridge, into the torrent, and her rescue by Hoeel, to the accompaniment
of a storm set to music. The scene, though melodramatic, is very
strong in its musical effects.

The last act opens with a scene in striking contrast, introduced with
a quintet of horns, followed by a hunter's solo, a reaper's solo, a
duet for shepherds; and a quartet in the finale. Hoeel arrives, bearing
the rescued Dinorah, and sings to her an exquisite romance ("Sei
vendicata assai"). The magic of his singing and her bath in the
torrent restore her wandering senses. Hoeel persuades her that all
which has transpired has been a dream. The old song of the Pardon of
Ploermel comes to her, and as she tries to recall it the chorus takes
it up ("Santa Maria! nostra donna") as it was heard in the overture. A
procession is seen in the distance, and amid some exquisite pageant
music Hoeel and Dinorah wend their way to the chapel, where the nuptial
rites are supposed to be performed.

THE PROPHET.

"Le Prophete," an opera in five acts, words by Scribe, was first
produced in Paris, April 16, 1849, with Mme. Viardot-Garcia as Fides,
and M. Roger as John of Leyden. "The Prophet" was long and carefully
elaborated by its composer. Thirteen years intervened between it and
its predecessor, "The Huguenots;" but in spite of its elaboration it
can only be said to excel the latter in pageantry and spectacular
effect, while its musical text i