and others who have treated the legend.  He studied Wagner’s music also very closely, and to such purpose that after the first performance of this opera at La Scala, in 1868, the critics called him the Italian Wagner, and, in common with the public, condemned both him and his work.  After Wagner’s “Lohengrin” had been produced in Italy and met with success, Boito saw his opportunity to once more bring out his work.  It was performed at Bologna in 1875, and met with an enthusiastic success.  Its introduction to this country is largely due to Mme. Christine Nilsson, though Mme. Marie Roze was the first artist to appear in it here.

MEPHISTOPHELES.

“Mephistopheles,” grand opera in a prologue, four acts, and epilogue, words by the composer, was first performed at La Scala, Milan, in 1868.  The “Prologue in the Heavens” contains five numbers, a prelude, and chorus of the mystic choir; instrumental scherzo, preluding the appearance of Mephistopheles; dramatic interlude, in which he engages to entrap Faust; a vocal scherzo by the chorus of cherubim; and the Final Psalmody by the penitents on earth and chorus of spirits.  The prologue corresponds to Goethe’s prologue in the heavens, the heavenly choirs being heard in the background of clouds, accompanied by weird trumpet-peals and flourishes in the orchestra, and closes with a finale of magnificent power.

The first act opens in the city of Frankfort, amid the noise of the crowd and the clanging of holiday bells.  Groups of students, burghers, huntsmen, and peasants sing snatches of chorus.  A cavalcade escorting the Elector passes.  Faust and Wagner enter, and retire as the peasants begin to sing and dance a merry waltz rhythm ("Juhe!  Juhe!").  As it dies away they reappear, Faust being continually followed by a gray friar,—­Mephistopheles in disguise,—­whose identity is disclosed by a motive from the prologue.  Faust shudders at his presence, but Wagner laughs away his fears, and the scene then suddenly changes to Faust’s laboratory, whither he has been followed by the gray friar, who conceals himself in an alcove.  Faust sings a beautiful aria ("Dai campi, dai prati"), and then, placing the Bible on a lectern, begins to read.  The sight of the book brings Mephistopheles out with a shriek; and, questioned by Faust, he reveals his true self in a massive and sonorous aria ("Son lo spirito").  He throws off his disguise, and appears in the garb of a knight, offering to serve Faust on earth if he will serve the powers of darkness in hell.  The compact is made, as in the first act of Gounod’s “Faust;” and the curtain falls as Faust is about to be whisked away in Mephistopheles’s cloak.