Like “Don Pasquale,” the opera is exceedingly graceful in its construction, and very bright and gay in its musical effects, particularly in the duets, of which there are two,—­one between Dulcamara and Nemorino in the first act ("Obbligato, ah! si obbligato"), and one between Dulcamara and Adina in the second act ("Quanto amore! ed io spietata"), which are charming in their spirit and humor.  There is also an admirable buffo song in the first act, beginning with the recitative, “Udite, udite, o rustici,” in which the Doctor describes his wares to the rustics, and a beautiful romanza in the second act for tenor ("Una furtiva lagrima"), which is of world-wide popularity, and bears the same relation to the general setting of the work that the Serenade does to “Don Pasquale.”

LUCREZIA BORGIA.

“Lucrezia Borgia,” an opera in three acts, words by Romani, was first produced at La Scala, Milan, in 1834.  The subject was taken from Victor Hugo’s tragedy of the same name, and its text was freely adapted by Romani.  When it was produced in Paris, in 1840, Victor Hugo took steps to suppress any further representations.  The libretto was then rewritten, under the title of “La Rinegata,” the Italian characters were changed to Turks, and in this mutilated form the performances were resumed.  It was in this opera that Signor Mario made his English debut, in 1839, with great success.  Its first presentation in English was at London, Dec. 30, 1843.

The history of Lucrezia Borgia, daughter of Rodrigo Borgia, afterwards Pope Alexander VI., and sister of Caesar Borgia, is too well known to need recapitulation.  It is necessary to the comprehension of the story of the opera, however, to state that she had an illegitimate son, named Genarro, who was left when an infant with a fisherman, but who subsequently entered the Venetian army and rose to an eminent rank.  The opera opens with a brilliant festival in the gardens of the Barberigo Palace, which is attended by Genarro, Orsini, and others, all of them cordial haters of the detestable Borgias.  While they are telling tales of Lucrezia’s cruel deeds, Genarro lies down and goes to sleep, and Orsini in a spirited aria ("Nelle fatal di Rimini”) relates to his companions the story of Genarro’s gallantry at the battle of Rimini.  As they leave, Lucrezia approaches, masked, in a gondola, and is received by Gubetta, with whom she has come to Venice on some secret errand.  She discovers Genarro asleep, and expresses her delight at his beauty, and at the same time her maternal love, in a brilliant aria ("Com’e bello").  As she kisses his hand he wakes, and in the duet which follows tells her the story of his early life in an exquisite romanza ("Di pescatore ignobile"), which is one of the most familiar numbers in Italian opera.  He begs her to reveal her name, but she refuses.  As he continues to implore her, his friends return and denounce her to Genarro as the hated Borgia, in a concerted number ("Chi siam noi sol chiarirla”) of great dramatic power, which closes the first act.