escape if he will renounce Adalgisa
and leave the country. He declares death would be preferable;
whereupon she threatens to denounce Adalgisa. Pity overcomes anger,
however. She snatches the sacred wreath from her brow and declares
herself the guilty one. Too late Pollione discovers the worth of the
woman he has abandoned, and a beautiful duet ("Qual cor tradisti")
forms the closing number. She ascends the funeral pyre with Pollione,
and in its flames they are purged of earthly crime. It is a memorable
fact in the history of this opera, that on its first performance it
was coldly received, and the Italian critics declared it had no
vitality; though no opera was ever written in which such intense
dramatic effect has been produced with simple melodic force, and no
Italian opera score to-day is more living or more likely to last than
that of Norma.

LA SONNAMBULA.

"La Sonnambula," an opera in two acts, words by Romani, was first
produced in Milan, March 6, 1831, with the following cast:--

AMINA Mme. PASTA.
ELVINO Sig. RUBINI.
RODOLFO Sig. MARIANO.
LISA Mme. TOCCANI.

It was brought out in the same year in Paris and London, and two years
after in English, with Malibran as Amina. The subject of the story was
taken from a vaudeville and ballet by Scribe. The scene is laid in
Switzerland. Amina, an orphan, the ward of Teresa, the miller's wife,
is about to marry Elvino, a well-to-do landholder of the village.
Lisa, mistress of the inn, is also in love with Elvino, and jealous of
her rival. Alessio, a peasant lad, is also in love with the landlady.
Such is the state of affairs on the day before the wedding. Rodolfo,
the young lord of the village, next appears upon the scene. He has
arrived incognito for the purpose of looking up his estates, and stops
at Lisa's inn, where he meets Amina. He gives her many pretty
compliments, much to the dissatisfaction of the half-jealous Elvino,
who is inclined to quarrel with the disturber of his peace of mind.
Amina, who is subject to fits of somnambulism, has been mistaken for a
ghost by the peasants, and they warn Rodolfo that the village is
haunted. The information, however, does not disturb him, and he
quietly retires to his chamber. The officious Lisa also enters, and a
playful scene of flirtation ensues, during which Amina enters the
room, walking in her sleep. Lisa seeks shelter in a closet. Rodolfo,
to escape from the embarrassment of th