Land and New Zealand.  He passed some time in the latter country, and then began a long series of wanderings, in the course of which he visited the East and West Indies, Mexico,—­where he conducted Italian opera,—­and the United States.  He remained in New York a considerable period, and gave concerts which were very remunerative.  In 1846 he returned to Europe, and shortly afterwards his pretty little opera, “Maritana,” appeared, and made quite a sensation among the admirers of English opera.  In 1847 “Matilda of Hungary” was produced, and met with success.  Thirteen years of silence elapsed, and at last, in 1860, he produced his legendary opera, “Lurline,” at Covent Garden.  It gave great satisfaction at the time, but is now rarely performed.  Besides his operas he also wrote many waltzes, nocturnes, studies, and other light works for the piano.  After the production of “Lurline” he went to Paris for the purpose of bringing out some of his operas, and while in that city also composed the first act of an opera for London, but his health was too delicate to admit of its completion.  He died at Chateau de Bayen, Oct. 12, 1865.

MARITANA.

“Maritana,” a romantic opera in three acts, words by Fitzball, founded upon the well-known play of “Don Caesar de Bazan,” was first produced at Drury Lane, London, Nov. 15, 1845.  The text closely follows that of the drama.  The first act opens in a public square of Madrid, where a band of gypsies are singing to the populace, among them Maritana, a young girl of more than ordinary beauty and vocal accomplishments.  Among the spectators is the young King Charles, who after listening to her is smitten with her charms.  Don Jose, his minister, to carry out certain ambitious plans of his own, resolves to encourage the fascinations which have so attracted the King.  He extols her beauty and arouses hopes in her breast of future grandeur and prosperity.  At this juncture Don Caesar de Bazan, a reckless, rollicking cavalier, comes reeling out of a tavern where he has just parted with the last of his money to gamblers.  In spite of his shabby costume and dissipated appearance he bears the marks of high breeding.  In better days he had been a friend of Don Jose.  While he is relating the story of his downward career to the minister, Lazarillo, a forlorn young lad who has just attempted to destroy himself, accosts Don Caesar, and tells him a piteous tale of his wrongs.  Don Caesar befriends him, and in consequence becomes involved in a duel, which leads to his arrest; for it is Holy Week, and duelling during that time has been forbidden on pain of death.  While Don Caesar is on his way to prison, Don Jose delights Maritana by promising her wealth, a splendid marriage, and an introduction to the court on the morrow.