has been persecuting her.  The part of Fenella is of course expressed by pantomime throughout.  The remainder of the act is intensely dramatic.  Elvira promises to protect Fenella, and then, after some spirited choruses by the soldiers, enters the chapel with Alphonso.  During the ceremony Fenella discovers that he is her betrayer.  She attempts to go in, but is prevented by the soldiers.  On the return of the newly wedded pair Fenella meets Elvira and denounces her husband, and the scene ends with a genuine Italian finale of excitement.

The second act opens on the sea-shore, and shows the fishermen busy with their nets and boats.  Masaniello, brother of Fenella, enters, brooding upon the wrongs of the people, and is implored by the fishermen to cheer them with a song.  He replies with the barcarole, “Piu bello sorse il giorno,”—­a lovely melody, which has been the delight of all tenors.  His friend Pietro enters and they join in a duet ("Sara il morir”) of a most vigorous and impassioned character, expressive of Masaniello’s grief for his sister and their mutual resolution to strike a blow for freedom.  At the conclusion of the duet he beholds Fenella about to throw herself into the sea.  He calls to her and she rushes into his arms and describes to him the story of her wrongs.  He vows revenge, and in a magnificent, martial finale, which must have been inspired by the revolutionary feeling with which the whole atmosphere was charged at the time Auber wrote (1828), incites the fishermen and people to rise in revolt against their tyrannical oppressors.

In the third act, after a passionate aria ("Il pianto rasciuga”) by Elvira, we are introduced to the market-place, crowded with market-girls and fishermen disposing of their fruits and fish.  After a lively chorus, a fascinating and genuine Neapolitan tarantelle is danced.  The merry scene speedily changes to one of turmoil and distress.  Selva attempts to arrest Fenella, but the fishermen rescue her and Masaniello gives the signal for the general uprising.  Before the combat begins, all kneel and sing the celebrated prayer, “Nume del ciel,” taken from one of Auber’s early masses, and one of his most inspired efforts.

The fourth act opens in Masaniello’s cottage.  He deplores the coming horrors of the day in a grand aria ("Dio! di me disponesti”) which is very dramatic in its quality.  Fenella enters, and after describing the tumult in the city sinks exhausted with fatigue.  As she falls asleep he sings a slumber song ("Scendi, o sonno dal ciel"), a most exquisite melody, universally known as “L’Air du Sommeil.”  It is sung by the best artists mezzo voce throughout, and when treated in this manner never fails to impress the hearer with its tenderness and beauty.  At its close Pietro enters and once more rouses Masaniello to revenge by informing him that Alphonso has escaped.  After they leave the cottage, the latter and Elvira enter and implore protection.  Fenella is moved to mercy, and a concerted number follows in which Masaniello promises safety and is denounced by Pietro for his weakness.  In the finale, the magistrates and citizens enter, bearing the keys of the town and the royal insignia, and declare Masaniello king in a chorus of a very inspiriting and brilliant character.