situation is still further complicated by the appearance of Don Henrique, who has no difficulty in recognizing Catarina.  Bewildered at her presence in the Queen’s apartments, he declares to Diana that he will seize her and fly to some distant land.  His rash resolution, however, is thwarted by his arrest, on the authority of the Queen, for treason.  A martial finale introduces us to the Queen in state.  Don Henrique rushes forward to implore mercy for Catarina.  The Queen reveals herself at last, and announces to her people that she has chosen Don Henrique, who has loved her for herself, for her husband and their king.  And thus closes one of the most sparkling, melodious, and humorous of Auber’s works.  What the concerted numbers lack in solidity of construction is compensated for by their grace and sweetness.

BALFE.

Michael William Balfe was born at Dublin, Ireland, May 15, 1808.  Of all the English opera-composers, his career was the most versatile, as his success, for a time at least, was the most remarkable.  At seven years of age he scored a polacca of his own for a band.  In his eighth year he appeared as a violinist, and in his tenth was composing ballads.  At sixteen he was playing in the Drury Lane orchestra, and about this time began taking lessons in composition.  In 1825, aided by the generosity of a patron, he went to Italy, where for three years he studied singing and counterpoint.  In his twentieth year he met Rossini, who offered him an engagement as first barytone at the Italian Opera in Paris.  He made his debut with success in 1828, and at the close of his engagement returned to Italy, where he appeared again on the stage.  About this time (1829-1830) he began writing Italian operas, and before he left Italy had produced three which met with considerable success.  In 1835 he returned to England; and it was in this year that his first English opera, the “Siege of Rochelle,” was produced.  It was played continuously at Drury Lane for over three months.  In 1836 appeared his “Maid of Artois;” in 1837, “Catharine Grey” and “Joan of Arc;” and in 1838, “Falstaff.”  During these years he was still singing in concerts and opera, and in 1840 appeared as manager of the Lyceum.  His finest works were produced after this date,—­“The Bohemian Girl” in 1843; “The Enchantress” in 1844; “The Rose of Castile,” “La Zingara,” and “Satanella” in 1858, and “The Puritan’s Daughter” in 1861.  His last opera was “The Knight of the Leopard,” known in Italian as “Il Talismano,” which has also been produced in English as “The Talisman.”  He married Mlle. Rosen, a German singer, whom he met in Italy in 1835; and his daughter Victoire, who subsequently married Sir John Crampton, and afterwards the Duc de Frias, also appeared as a singer in 1856.  Balfe died Oct. 20, 1870, upon his own estate in Hertfordshire.  The analysis of his three operas which are best known—­“The Bohemian Girl,” “Rose of Castile,” and “Puritan’s Daughter”—­will contain sufficient reference to his ability as a composer.