Chapter CLXXXVIII: Act II: A magnificent room in the cadi's house. What a stirring,

harmonious picture. _Margiana_, _Bostana_, and the cadi rejoice: "He comes! he comes! oh, delightful pleasure." Of course the covetous old cadi is not thinking of young _Nureddin_ but of the rich old _Selim_ who wants to have _Margiana_ for his wife. A mighty chest full of rich gifts, so he announces. But the cadi goes off full of dignity to prayers in the mosque. And now _Nureddin_ comes. How happy the couple are. But is not that the barber approaching with his love-song? "O Allah, save us from the flood of his talk"--no, rather save us from the cadi who suddenly comes back. The screams of a servant, whom he is punishing with a bastonade by his own hand, announce his arrival. There is only one escape. Quickly the chest is emptied and _Nureddin_ gets in. Then the barber with _Nureddin's_ servant. _Abdul Hassan Ali Ebn Bekar_ leaves no customers in the lurch. He who screamed can only be _Nureddin_ whom the furious cadi has murdered. _Bostana_ advises him to drag forth the chest; the cadi opposes. The wild clamour brings, in crowds, the people of Bagdad who hear rumours of a murder. Finally the caliph comes too. What is in the chest? _Nureddin's_ corpse, says the barber; _Margiana's_ dowry, answers the cadi. The chest is opened. The cadi is right, for _Nureddin_ is not a corpse but only in a swoon because he was nearly smothered, but he is without doubt _Margiana's_ dowry and he will become so publicly. A cadi cannot lightly oppose the wish of a caliph. The barber is seized but is ordered by the caliph to be taken to his palace to entertain him with stories.

THE TAMING OF THE SHREW

Opera in four acts; libretto adapted by Victor Widmann from
Shakespeare's comedy. Music by Herman Goetz.

CHARACTERS

BAPTISTA _Otto Goritz_
KATHARINA _Margarete Ober_
BIANCA _Marie Rappold_
HORTENSIO _Robert Leonhardt_
LUCENTIO _Johannes Sembach_
PETRUCHIO _Clarence Whitehill_
GRUMIO _Basil Ruysdael_
A TAILOR _Albert Reiss_
MAJOR DOMO _Max Bloch_
HOUSEKEEPER _Marie Mattfeld_

This opera was produced at the Metropolitan Opera House in commemoration of Shakespeare in 1916. It was first sung in Mannheim in 1874, when it was known as "Die Widerspenstigen Zachmung." Mr. Bodanzky came to conduct at the Metropolitan Opera House, from that city, and the New York performance was perhaps the result of a suggestion made by him. Widmann in his libretto brings into prominence the wooing of _Bianca_ by rival suitors. This is done to give relief to _Petruchio's_ blustering and to the exhibitions of temper by the _Shrew_. The librettist also provides his own introduction which includes the rival suitors, a chorus of angry servants, interested women on the balcony, and _Petruchio's_ entrance. The second act represents _Petruchio's_ tempestuous wooing. In the third _Bianca_ is courted by _Lucentio_ as a tutor and _Hortensio_ as a musician. The wedding party returns and _Petruchio_ makes his hasty exit bearing his sulky bride. Servants and wedding guests provide an opportunity for chorus music. The tailor is introduced and _Katharina_ is finally tamed.

THE QUEEN OF SHEBA

Opera in four acts: music by Karl Goldmark; text by G.H.
Mosenthal. Produced: Vienna, March 10, 1875.

CHARACTERS

KING SOLOMON _Baritone_
BAAL HANAU, the palace overseer _Baritone_
ASSAD _Tenor_
THE HIGH PRIEST _Bass_
SULAMITH, his daughter _Tenor_
THE QUEEN OF SHEBA _Mezzo-Soprano_
ASTAROTH, her slave _Soprano_

_Time_--Tenth Century B.C.

_Place_--Jerusalem.

Act I. In _Solomon's_ magnificent palace everybody is preparing for the reception of the _Queen of Sheba_. But nobody is more delighted than _Sulamith_, the daughter of the High Priest. _Assad_, who had gone to meet the foreign queen, returns. Here he comes already into the hall. But _Assad_, growing pale, draws back before his betrothed. He confesses to _King Solomon_ that he has not yet seen the _Queen of Sheba_ but at a certain well a wonderful woman favoured him with her love and since then his mind has been confused. The King consoles the young man by telling him that God will permit him to find her again. Now the queen's train approaches; she greets _Solomon_ and unveils herself. _Assad_ rushes toward her. What does the young man want of her? She does not know him.

Act II. The queen did not want to recognize _Assad_ but the woman in her is consumed with longing for him. He comes and happy love unites them. Then the scene changes and shows the interior of the Temple. The wedding of _Assad_ and _Sulamith_ is about to be solemnized. Then, at a decisive moment the queen appears, and _Assad_ throws the ring on the floor and hurries to the queen as if the deceit were making a fool of him. She has never seen him, she declares a second time. _Assad_, however, who has offended the Almighty, has incurred the penalty of death. In the meantime _Solomon_, who is examining the affair, defers sentence.

Act III. _Solomon_ is alone with the queen. She has one request to make of him, that he shall release _Assad_. Why? He is nothing to her but she wants to see whether the king has regard for his guest. And _Solomon_ refuses the request of the deceitful woman who, breathing vengeance, strides out of the palace. But when _Sulamith_ complains, _Solomon_ consoles her. _Assad_ will shake off the unworthy chains. Far away on the borders of the desert, she will find peace with _Assad_.