his opera of "Mephistopheles,"
the only work by which he is known to the musical world at large. He
studied Goethe profoundly; and the notes which he has appended to the
score show a most intimate knowledge of the Faust legend. His text is
in one sense polyglot, as he has made use of portions of Marlowe's
"Doctor Faustus," as well as excerpts from Blaze de Bury, Lenau,
Widmann, and others who have treated the legend. He studied Wagner's
music also very closely, and to such purpose that after the first
performance of this opera at La Scala, in 1868, the critics called him
the Italian Wagner, and, in common with the public, condemned both him
and his work. After Wagner's "Lohengrin" had been produced in Italy
and met with success, Boito saw his opportunity to once more bring out
his work. It was performed at Bologna in 1875, and met with an
enthusiastic success. Its introduction to this country is largely due
to Mme. Christine Nilsson, though Mme. Marie Roze was the first artist
to appear in it here.

MEPHISTOPHELES.

"Mephistopheles," grand opera in a prologue, four acts, and epilogue,
words by the composer, was first performed at La Scala, Milan, in
1868. The "Prologue in the Heavens" contains five numbers, a prelude,
and chorus of the mystic choir; instrumental scherzo, preluding the
appearance of Mephistopheles; dramatic interlude, in which he engages
to entrap Faust; a vocal scherzo by the chorus of cherubim; and the
Final Psalmody by the penitents on earth and chorus of spirits. The
prologue corresponds to Goethe's prologue in the heavens, the heavenly
choirs being heard in the background of clouds, accompanied by weird
trumpet-peals and flourishes in the orchestra, and closes with a
finale of magnificent power.

The first act opens in the city of Frankfort, amid the noise of the
crowd and the clanging of holiday bells. Groups of students, burghers,
huntsmen, and peasants sing snatches of chorus. A cavalcade escorting
the Elector passes. Faust and Wagner enter, and retire as the peasants
begin to sing and dance a merry waltz rhythm ("Juhe! Juhe!"). As it
dies away they reappear, Faust being continually followed by a gray
friar,--Mephistopheles in disguise,--whose identity is disclosed by a
motive from the prologue. Faust shudders at his presence, but Wagner
laughs away his fears, and the scene then suddenly changes to Faust's
laboratory, whither he has been followed by the gray friar, who
conceals himself in a