“Mahomet returns, inspired.  He sings his first bravura air, the beginning of the finale (E major), promising the empire of the world to those who believe in him.  The Prophet seeing the two damsels, then, by a gentle transition (from B major to G major), addresses them in amorous tones.  Ali, Mahomet’s cousin, and Khaled, his greatest general, both tenors, now arrive and announce the persecution; the magistrates, the military, and the authorities have all proscribed the Prophet (recitative).  Mahomet declares in an invocation (in C) that the Angel Gabriel is on his side, and points to a pigeon that is seen flying away.  The chorus of believers responds in accents of devotion (on a modulation to B major).  The soldiers, magistrates, and officials then come on (tempo di marcia, common time, B major).  A chorus in two divisions (stretto in E major).  Mahomet yields to the storm (in a descending phrase of diminished sevenths) and makes his escape.  The fierce and gloomy tone of this finale is relieved by the phrases given to the three women who foretell Mahomet’s triumph, and these motives are further developed in the third act in the scene where Mahomet is enjoying his splendor.”

The tears rose to Gambara’s eyes, and it was only upon controlling his emotion that he went on.

“Act II.  The religion is now established.  The Arabs are guarding the Prophet’s tent while he speaks with God (chorus in A minor).  Mahomet appears (a prayer in F).  What a majestic and noble strain is this that forms the bass of the voices, in which I have perhaps enlarged the borders of melody.  It was needful to express the wonderful energy of this great human movement which created an architecture, a music, a poetry of its own, a costume and manners.  As you listen, you are walking under the arcades of the Generalife, the carved vaults of the Alhambra.  The runs and trills depict that delicate mauresque decoration, and the gallant and valorous religion which was destined to wage war against the gallant and valorous chivalry of Christendom.  A few brass instruments awake in the orchestra, announcing the Prophet’s first triumph (in a broken cadenza).  The Arabs adore the Prophet (E flat major), and the Khaled, Amru, and Ali arrive (tempo di marcia).  The armies of the faithful have taken many towns and subjugated the three Arabias.  Such a grand recitative!—­Mahomet rewards his generals by presenting them with maidens.

“And here,” said Gambara, sadly, “there is one of those wretched ballets, which interrupt the thread of the finest musical tragedies!  But Mahomet elevates it once more by his great prophetic scene, which poor Monsieur Voltaire begins with these words: 

  “Arabia’s time at last has come!