of his father, who was
determined that he should devote himself to church music. While his
regiment was at Naples he wrote his first opera, "Enrico di Borgogna"
(1818), which was soon followed by a second, "Il Falegname de
Livonia." The success of the latter was so great that it not only
freed him from military service but gained him the honor of being
crowned. The first opera which spread his reputation through Europe
was "Anna Bolena," produced at Milan in 1830, and written for Pasta
and Rubini. Two years afterwards, "L' Elisir d' Amore" appeared, which
he is said to have written in fifteen days. He wrote with great
facility. "Il Furioso," "Parisina," "Torquato Tasso," "Lucrezia
Borgia," and "Gemma di Vergi" rapidly followed one another. In 1835 he
brought out "Marino Faliero," but its success was small. Ample
compensation was made, however, when in the same year "Lucia" appeared
and was received with acclamations of delight. He was invited to Paris
as the successor of Rossini, and wrote his "Marino Faliero" for the
Theatre des Italiens. In 1840 he revisited Paris and produced "Il
Poliuto," "La Fille du Regiment," and "La Favorita." Leaving Paris he
visited Rome, Milan, and Vienna, bringing out "Linda di Chamouni" in
the latter city. Returning to Paris again, he produced "Don Pasquale"
at the Theatre des Italiens and "Don Sebastien" at the Academie, the
latter proving a failure. His last opera, "Catarina Comaro," was
brought out at Naples in 1844. This work also was a failure. It was
evident that his capacity for work was over. He grew sad and
melancholy, and during the last three years of his life was attacked
by fits of abstraction which gradually intensified and ended in
insanity and physical paralysis. He died at Bergamo, April 8, 1848.

THE DAUGHTER OF THE REGIMENT.

"The Daughter of the Regiment" ("La Fille du Regiment") opera comique
in two acts, words by Bayard and St. Georges, was first produced at
the Opera Comique, Paris, Feb. 11, 1840, with Mme. Anna Thillon in the
role of Marie. Its first performance in English was at the Surrey
Theatre, London, Dec. 21, 1847, under the title of "The Daughter of
the Regiment," in which form it is best known in this country. In 1847
it was performed as an Italian opera in London, with added
recitatives, and with Jenny Lind in the leading part.

The music of the opera is light and sparkling, the principal interest
centring in the charming nature of the story and its h