The curtain rises upon a night scene in Padua, with Lucentio before Bianca’s house singing a melodious serenade.  Its strains are interrupted, however, by a hurly-burly in the house, caused by the shrew’s demonstrations.  The tumult is transferred to the street, and gives occasion for a very vigorous ensemble.  When the crowd disperses, Lucentio resumes his serenade, Bianca appears upon the balcony, and the two join in a very pleasing duet.  This number is also interrupted by Hortensio, at the head of a band of street musicians, who has also come to serenade his mistress.  The encounter of the two lovers brings on a quarrel, which is averted, however, by the interposition of Baptista.  A duet follows between them, at the close of which Lucentio retires.  Petruchio now appears upon the scene, and learns from Hortensio of Katharine’s vixenish disposition, which determines him to woo her.  With a stirring song ("She is a Wife for such a Man created"), the act comes to an end.

The second act opens in a chamber in Baptista’s house, where Katharine is berating Bianca for accepting serenades from suitors, and abuses her even to blows.  The scene closes with a vigorous song for Katharine ("I’ll give myself to no one"), which is greeted with cynical applause by Petruchio, Baptista, Lucentio, and Hortensio, who enter, the last two disguised as teachers.  In the next scene, Petruchio and Katharine alone, we have the turbulent wooing, which is accompanied throughout by characteristic music.  As the others return Petruchio announces his success in the song, “All is well,” the theme of which is taken by the quintet, closing the act.

The third is the most interesting act of the three.  It opens on the day selected for the wedding of Katharine and Petruchio, in Baptista’s garden; the first number being a charming quintet for Katharine, Bianca, Lucentio, Hortensio, and Baptista.  The guests are present, but Petruchio is not there.  An explanation is made, followed by a chorus as the guests leave; and then Bianca is free to take her lessons, in one of which Lucentio makes his avowal of love to her.  The arrangement of the two lessons is both unique and skilful.  Lucentio turns the familiar opening lines of the AEneid, “Arma virumque cano,” etc., into a love-song by declarations interposed between them; while Hortensio explains the mysteries of the scale to her, each line of his love-song beginning with one of its letters.  It is soon found, however, that Lucentio is the accepted lover.  Baptista now enters and announces Petruchio’s return, which leads to a charming quartet.  The finale of the opera, which is very spirited, includes the preparations for the marriage-feast, the wedding, and the scene in which Petruchio abruptly forces his bride to leave with him for his country house.

GOLDMARK.