rs, and expresses her satisfaction
with the work, and promotes him to the position of Minister of Secret
Police. On his departure she sings a charming cavatina ("Love, dwell
with me"), and at its close Count de Campo Mayor enters with the
decision of the Council that she shall wed the Prince of Spain. She
returns answer that she shall make her own choice. The Count seeks to
argue with her, when she threatens to confiscate his estate for
allowing the crown jewels to be stolen, and commands him to arrest his
daughter and nephew for harboring the thieves. Diana suddenly enters,
and an amusing trio ensues, the Queen standing with her back to Diana
lest she may be discovered. The latter fails to recognize her as
Catarina, and implores pardon for assisting in her escape. The
situation is still further complicated by the appearance of Don
Henrique, who has no difficulty in recognizing Catarina. Bewildered at
her presence in the Queen's apartments, he declares to Diana that he
will seize her and fly to some distant land. His rash resolution,
however, is thwarted by his arrest, on the authority of the Queen, for
treason. A martial finale introduces us to the Queen in state. Don
Henrique rushes forward to implore mercy for Catarina. The Queen
reveals herself at last, and announces to her people that she has
chosen Don Henrique, who has loved her for herself, for her husband
and their king. And thus closes one of the most sparkling, melodious,
and humorous of Auber's works. What the concerted numbers lack in
solidity of construction is compensated for by their grace and
sweetness.

BALFE.

Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of
all the English opera-composers, his career was the most versatile, as
his success, for a time at least, was the most remarkable. At seven
years of age he scored a polacca of his own for a band. In his eighth
year he appeared as a violinist, and in his tenth was composing
ballads. At sixteen he was playing in the Drury Lane orchestra, and
about this time began taking lessons in composition. In 1825, aided by
the generosity of a patron, he went to Italy, where for three years he
studied singing and counterpoint. In his twentieth year he met
Rossini, who offered him an engagement as first barytone at the
Italian Opera in Paris. He made his debut with success in 1828, and at
the close of his engagement returned to Italy, where he appeared again
on the stage. About this tim