iven in the
open square, with its fascinating dances of warriors, bacchantes,
jugglers and buffoons, and their mimic combats, the music of which is
very familiar from its frequent performance in our concert-rooms. Nero
then appears and announces his divinity in a finale, which is rich
with scenic, spectacular, and choral effects, accompanied by full
military band and orchestra.

The third act opens in Chrysa's new asylum of refuge. The persecuted
girl sings a beautiful prayer, at the close of which Vindex joins her
in a love-duet, which will always remain as one of the most refined
and noble products of Rubinstein's skill in harmony. The next number
is one of almost equal beauty,--a duet for Chrysa and Epicharis, the
motive of which is a cradle song. Its soothing tones are interrupted
by the appearance of Nero, followed by Poppoea and Saccus, the
last-named announcing to the tyrant that Rome is in flames, which
leads up to a vigorous trio. The concluding scene is full of
characteristic music. It shows us Nero watching the fire from his
tower, while he sings a hymn ("O Ilion") to the accompaniment of his
lyre; the death of Chrysa, who proclaims herself a Christian and is
killed by the infuriated populace; and the fate of Epicharis, who is
crushed beneath a falling house as she mourns for her daughter.

The fourth act furnishes a dramatic denouement to the mournful story.
The tyrant, wild with rage and frenzy, appears in the tomb of
Augustus, where the shades of his murdered victims terrify him. Saccus
enters and tells him of the revolt of his army and the danger which
threatens him. He rushes out again and kills himself on the highway of
the Campagna, just as Vindex at the head of his legions comes up with
him. As he expires a cross appears in the sky and a chant is heard,
herald of the coming Christianity.

THOMAS.

Charles Ambroise Thomas was born at Metz, Aug. 5, 1811, and entered
the Paris Conservatory in 1828, where he carried off the Grand Prize
in 1832, which entitled him to go to Italy. During his Italian
residence he wrote a cantata, "Hermann und Ketty," and several
instrumental works. His first work at the Opera Comique was the
one-act opera, "La double echelle," produced in 1837 with success. He
then brought out several ballets at the Academie, but returned to the
Opera Comique again, where, between 1840 and 1866, he composed
thirteen operas, the most successful of which were "Le Songe d'une
nuit d