of great power but of exquisite grace and tenderness, and requires an
artist of the highest rank for its proper presentation. Fenella rouses
him from his dejection, and he once more turns and plunges into the
fight, only to be killed by his own comrades. On learning of her
brother's death she unites the hands of Alphonso and Elvira, and then
in despair throws herself into the burning lava of Vesuvius.

"Masaniello" made Auber's fame at the Grand Opera, as "Fra Diavolo"
made it at the Opera Comique. It has no points in common with that or
any other of his works. It is serious throughout, and full of power,
impetuosity, and broad dramatic treatment. Even Richard Wagner has
conceded its vigor, bold effects, and original harmonies. Its melodies
are spontaneous, its instrumentation full of color, and its stirring
incidents are always vigorously handled. In comparison with his other
works it seems like an inspiration. It is full of the revolutionary
spirit, and its performance in Brussels in 1830 was the cause of the
riots that drove the Dutch out of Belgium.


THE CROWN DIAMONDS.

"The Crown Diamonds" ("Les Diamans de la Couronne"), opera comique, in
three acts, words by Scribe and St. George, one of the most charming
of Auber's light operas, was first produced in Paris in 1841, but its
reputation has been made on the English stage. It was first performed
in London, at the Princess Theatre, May 2, 1844, with Mme. Anna
Thillon, a charming singer and most fascinating woman, as Catarina;
but its success was made at Drury Lane in 1854 by Louisa Pyne and
Harrison, who took the parts of Catarina and Don Henrique. The other
rôles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were