lavished his musical skill with charming effect. The last scene closes
with the tragedy. The whole opera is liberally enriched with melodies,
and is dramatic throughout; but the last act is the crown of the work,
and may successfully challenge comparison, for beauty, variety, and
dramatic effect, with any other opera in the purely Italian school.


IL BALLO IN MASCHERA.

"Il Ballo in Maschera," an opera in three acts, but usually performed
in four, words by M. Somma, was first produced in Rome, Feb. 17, 1859.
In preparing his work for the stage, Verdi encountered numerous
obstacles. The librettist used the same subject which M. Scribe had
adopted for Auber's opera, "Gustavus III.," and the opera was at first
called by the same name,--"Gustavo III." It was intended for
production at the San Carlo, Naples, during the Carnival of 1858; but
while the rehearsals were proceeding, Orsini made his memorable
attempt to kill Napoleon III., and the authorities at once forbade a
performance of the work, as it contained a conspiracy scene. The
composer was ordered to set different words to his music, but he
peremptorily refused; whereupon the manager brought suit against him,
claiming forty thousand dollars damages. The disappointment nearly
incited a revolution in Naples. Crowds gathered in the streets
shouting, "Viva Verdi," implying at the same time, by the use of the
letters in Verdi's name, the sentiment, "Viva Vittorio Emmanuele Re Di
Italia." A way out of his difficulties, however, was finally suggested
by the impresario at Rome, who arranged with the censorship to have
the work brought out at the Teatro Apollo as "Un Ballo in Maschera."
The scene was changed to Boston, Massachusetts, and the time laid in
the colonial period, notwithstanding the anachronism that masked balls