replies, “Then I am the King of Spain.”  Before further explanation can be made, a messenger arrives from the Queen with the announcement that she awaits the King.  After his departure Don Caesar and Maritana mutually recognize each other, and upon her advice he resolves to appeal to the Queen to save her.  He waits for her Majesty in the palace garden, and while concealed, overhears Don Jose informing her that the King will meet his mistress that night.  He springs out, and denouncing him as a traitor to his King slays him, and then returning to Maritana’s apartment finds the King there again, and tells him what has occurred.  He has saved the King’s honor:  will the King destroy his?  The monarch, overcome with Don Caesar’s gallantry and loyalty, consigns Maritana to him and appoints him Governor of Granada.  The appointment does not suit Don Caesar, for Granada is too near his creditors.  The King, laughing, changes it to Valencia, a hundred leagues away, and thither Don Caesar conducts his happy bride.

The drama is one which is well adapted to bright, cheerful, melodious music, and the opportunity has been well improved, for “Maritana” is one of the sprightliest and brightest of all the English operas, and contains several ballads which for beauty and expressiveness may well challenge any that Balfe has written.  The principal numbers in the first act are Maritana’s opening song in the public square ("It was a Knight of princely Mien"); the romanza which she subsequently sings for Don Jose, “I hear it again, ’tis the Harp in the Air,” which is one of the sweetest and most delicate songs in any of the lighter operas; the duet between Maritana and Don Jose, “Of fairy Wand had I the Power;” Don Caesar’s rollicking drinking-song, “All the World over, to love, to drink, to fight, I delight;” and the tripping chorus, “Pretty Gitana, tell us what the Fates decree,” leading up to the stirring ensemble in the finale, when Don Caesar is arrested.  The first scene of the second act is the richest in popular numbers, containing an aria for alto, Lazarillo’s song ("Alas! those Chimes so sweetly pealing"); a charming trio for Don Caesar, Lazarillo, and Don Jose ("Turn on, old Time, thine Hourglass"); Don Caesar’s stirring martial song, “Yes, let me like a Soldier fall;” the serious ballad, “In happy Moments, Day by Day,” written by Alfred Bunn, who wrote so many of the Balfe ballads; and the quartet and chorus closing the scene, “Health to the Lady, the lovely Bride!” The second scene opens with a pretty chorus in waltz time ("Ah, what Pleasure! the soft Guitar"), followed by an aria sung by the King ("The Mariner in his Bark"), and introduced by an attractive violin prelude.  The finale is a very dramatic ensemble, quintet and chorus ("What Mystery must now control").  The last act falls off in musical interest, though it is very strong dramatically.  It contains a few numbers, however, which are very popular; among them one of the most admired of all English songs ("Scenes that