The last act is very powerful, both dramatically and musically.  It opens in the grounds of the Viceroy’s palace, and Vesuvius is seen in the distance, its smoke portending an eruption.  Pietro and companions enter with wine-cups in their hands, as from a banquet, and the former sings a barcarole ("Ve’ come il vento irato").  At its close other fishermen enter and excitedly announce that troops are moving against the people, that Vesuvius is about to burst into flame, and that Masaniello, their leader, has lost his reason.  This is confirmed by the appearance of the hero in disordered attire, singing music through which are filtered fragments of the fishermen’s songs as they rise in his disturbed brain.  This scene, the third in the act, is one not only of great power but of exquisite grace and tenderness, and requires an artist of the highest rank for its proper presentation.  Fenella rouses him from his dejection, and he once more turns and plunges into the fight, only to be killed by his own comrades.  On learning of her brother’s death she unites the hands of Alphonso and Elvira, and then in despair throws herself into the burning lava of Vesuvius.

“Masaniello” made Auber’s fame at the Grand Opera, as “Fra Diavolo” made it at the Opera Comique.  It has no points in common with that or any other of his works.  It is serious throughout, and full of power, impetuosity, and broad dramatic treatment.  Even Richard Wagner has conceded its vigor, bold effects, and original harmonies.  Its melodies are spontaneous, its instrumentation full of color, and its stirring incidents are always vigorously handled.  In comparison with his other works it seems like an inspiration.  It is full of the revolutionary spirit, and its performance in Brussels in 1830 was the cause of the riots that drove the Dutch out of Belgium.

THE CROWN DIAMONDS.

“The Crown Diamonds” ("Les Diamans de la Couronne"), opera comique, in three acts, words by Scribe and St. George, one of the most charming of Auber’s light operas, was first produced in Paris in 1841, but its reputation has been made on the English stage.  It was first performed in London, at the Princess Theatre, May 2, 1844, with Mme. Anna Thillon, a charming singer and most fascinating woman, as Catarina; but its success was made at Drury Lane in 1854 by Louisa Pyne and Harrison, who took the parts of Catarina and Don Henrique.  The other roles, Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were filled by Mr. Horncastle, Mr. Reeves, Mr. Borrani, and Miss Pyne, sister of the preceding, and with this cast the opera ran a hundred nights.