he is subsequently found by the King while on a
hunting expedition, and to him she relates the story of Eglantine's
treachery. The King takes her with him to the palace. Meanwhile Adolar
has begun to suspect that Euryanthe has been the victim of her base
wiles, and on his way to Nevers to punish Lysiart he encounters the
wedding-procession of the guilty pair, and challenges him. The King
suddenly arrives upon the scene and announces Euryanthe's death,
whereupon Eglantine declares her love for Adolar. The furious Lysiart
turns upon her and stabs her. Euryanthe is not dead. She has only
fainted, and is soon restored to her lover, while Lysiart is led off
to the scaffold.

The overture, which is familiar in our concert-rooms, gives a sketch
of the principal situations in the opera. The first act opens in the
great banquet-hall of the King with a flowing and stately chorus ("Dem
Frieden Heil") alternating between female and male voices and finally
taken by the full chorus. Then follows Adolar's lovely and tender
romanza ("Unter bluehenden Mandelbaeumen"). The next number, a chorus
("Heil! Euryanthe"), with recitatives for Adolar, Lysiart, and the
King leads up to a vigorous trio ("Wohlan! Du kennst"). Euryanthe's
idyllic and touching cavatina ("Gloecklein im Thale") is a match in
beauty and tenderness for Adolar's romanza. The recitative which
follows introduces a sentimental aria for Eglantine ("O mein Leid ist
unermessen"), leading to a duet with Euryanthe ("Unter ist mein Stern
gegangen"). A scena for Eglantine, characterized by all the hatred and
fury of jealousy, introduces the finale, which consists of a vigorous
chorus ("Jubeltoene") accompanying Euryanthe's solo ("Froehliche
Klaenge").

The second act opens with a powerful recitative and aria for Lysiart
("Wo berg ich mich"), which is full of passion. A duet of a menacing
and sombre character between Lysiart and Eglantine ("Komm denn unser
Leid zu raechen") stands out in gloomy contrast with Adolar's aria
("Wehen mir Luefte Ruh'") and the duet with Euryanthe ("Hin nimm die
Seele mein"), so full of grace and tenderness. They lead up to the
finale, a grand quartet ("Lass mich empor zum Lichte"), with powerful
chorus accompaniment.

The last act opens with the serpent episode, with characteristic
music, and a recitative scene between Euryanthe and Adolar leads up to
a pathetic cavatina for Euryanthe ("Hier am Quell wo Weiden stehn").
The ringing notes of the horns