of all artists; and a concerted finale, brimming over with melody and closing with the stirring anathema chorus, “Non casa, non spiaggia.”  The first grand number in the second act is Elvira’s mad song, “Qui la voce,” in which are brought out not only that rare gift for expressing pathos in melody for which Bellini is so famous, but the sweetest of themes and most graceful of embellishments.  The remaining numbers are Elvira’s appeal to her lover ("Vien, diletto"), the magnificent duet for basses ("Suoni la tromba"), known as the “Liberty Duet,” which in sonorousness, majesty, and dramatic intensity hardly has an equal in the whole range of Italian opera; a tender and plaintive romanza for tenor ("A una fonte aflitto e solo"); a passionate duet for Arthur and Elvira ("Star teco ognor"); and an adagio, sung by Arthur in the finale ("Ella e tremante").

BIZET.

Georges Bizet was born at Paris, Oct. 25, 1838, and in an artistic atmosphere, as his father, an excellent teacher, was married to a sister of Mme. Delsarte, a talented pianist, and his uncle, a musician, was the founder of the famous Delsarte system.  He studied successively with Marmontel and Benoist, and subsequently took lessons in composition from Halevy, whose daughter he afterwards married.  His first work was an operetta of not much consequence, “Docteur Miracle,” written in 1857, and in the same year he took the Grand Prix de Rome.  On his return from Italy he composed “Vasco de Gama” and “Les Pecheurs de Perles,” neither of which met with much success.  In 1867 “La Jolie Fille de Perth” appeared, and in 1872, “Djamileh.”  During the intervals of these larger works he wrote the Patrie overture and the interludes to “L’Arlesienne,” a very poetical score which Theodore Thomas introduced to this country, and both works were received with enthusiasm.  At last he was to appreciate and enjoy a real dramatic success, though it was his last work.  “Carmen” appeared in 1875, and achieved a magnificent success at the Opera Comique.  It was brought out in March, and in the following June he died of acute heart-disease.  He was a very promising composer, and specially excelled in orchestration.  During his last few years he was a close student of Wagner, whose influence is apparent in this last work of his life.

CARMEN.

“Carmen,” an opera in four acts, words by Meilhac and Halevy, adapted from Prosper Merimee’s romance of “Carmen,” was first produced at the Opera Comique, Paris, March 3, 1875, with Mme. Galli-Marie in the title-role and Mlle. Chapuy as Michaela.  The scene is laid in Seville, time 1820.  The first act opens in the public square, filled with a troop of soldiers under command of Don Jose, and loungers who are waiting the approach of the pretty girls who work in the cigar-factory near by, and prettiest and most heartless of them all, Carmen.