Vespers," "O luce di quest anima," from "Linda," or the vocalized
waltz by Strauss, the applause always was riotous, and so remained
until she sat down to the pianoforte and sang Chopin's "Maiden's
Wish," in Polish, to her own accompaniment. As for Mme. Melba, not
to be set in the shade simply because Mme. Sembrich is almost as
good a pianist as she is a singer, she supplements Arditi's waltz
or Massenet's "Sevillana" with Tosti's "Mattinata," to which she
also plays an exquisite accompaniment.

But this is a long digression; I must back to my intriguing
lovers, who have made good use of the lesson scene to repeat their
protestations of affection and lay plots for attaining their
happiness. In this they are helped by Figaro, who comes to shave Dr.
Bartolo in spite of his protests, and, contriving to get hold of the
latter's keys, "conveys" the one which opens the balcony lock, and
thus makes possible a plan for a midnight elopement. In the midst
of the lesson the real Basilio comes to meet his appointment, and
there is a moment of confusion for the plotters, out of which Figaro
extricates them by persuading Basilio that he is sick of a raging
fever, and must go instantly home, Almaviva adding a convincing
argument in the shape of a generously lined purse. Nevertheless,
Basilio afterwards betrays the Count to Bartolo, who commands him to
bring a notary to the house that very night so that he may sign the
marriage contract with Rosina. In the midst of a tempest Figaro and
the Count let themselves into the house at midnight to carry off
Rosina, but find her in a whimsy, her mind having been poisoned
against her lover by Bartolo with the aid of the unfortunate letter.
Out of this dilemma Almaviva extricates himself by confessing his
identity, and the pair are about to steal away when the discovery is
made that the ladder to the balcony has been carried away. As they