r of a little inn, who wants Elvino for herself and
disdains the devotion of Alexis, a simple peasant, tries to avenge
herself on her happy rival. Lisa is a coquette and flirts with the
Count, whom the judge recognizes. While she yet prates with him, the
door opens and Amina enters, walking in her sleep and calling for
Elvino. Lisa conceals herself, but forgets her handkerchief. The
Count, seeing Amina's condition and awed by her purity quits the room,
where Amina lies down, always in deep sleep. Just then the people,
having heard of the Count's arrival, come to greet him and find Amina
instead. At the same moment Elvino summoned by Lisa rushes in, and
finding his bride in the Count's room, turns away from her in disdain,
snatching his wedding-ring from her finger in his wrath, and utterly
disbelieving Amina's protestations of innocence and the Count's
assurances. Lisa succeeds in attracting Elvino's notice and he
promises to marry her.

The Count once more tries to persuade the angry bridegroom of his
bride's innocence, but without result, when Teresa, Amina's
foster-mother, {315} shows Lisa's handkerchief, which was found in the
Count's room. Lisa reddens, and Elvino knows not whom he shall
believe, when all of a sudden Amina is seen, emerging from a window of
the mill, walking in a trance, and calling for her bridegroom in most
touching accents.

All are convinced of her innocence, when they see her in this state of
somnambulism, in which she crosses a very narrow bridge without falling.

Elvino himself replaces the wedding-ring on her finger, and she awakes
from her trance in his arms. Everybody is happy at the turn which
things have taken; Elvino asks Amina's forgiveness and leaves Lisa to
her own bitter reflections.

THE TAMING OF THE SHREW.

Comic Opera in four acts by HERMANN GOETZ.

Text done after Shakespeare's comedy by J. V. WIDMANN.

This beautiful opera is the only one, which the gifted young composer
left complete, for he died of consumption in his early manhood. His
death is all the more to be lamented, as this composition shows a
talent, capable of performances far above the average. Its melodies
are very fresh and winning, and above all original.

As the subject of the libretto is so generally known, it is not
necessary to do more than shortly epitomise here. Of the libretto
itself however it may be remarked in passing, that it is uncommonly
well done; it is in rhymes whic