Year: 1877

Langhetti had certainly expected q good


mouse from those happy accidents which
had given him the cooperation Of the en-
tire musical world and Of the press. Yet
when he looked out and saw the house
that waited for the rising Of the curtain he
was overwhelmed.


When he thus looked out it was long be.
fore the hme. A great murmur had at
tracted his attention. He saw the house
crammed in every part. All the boxes
were filled. In the pit was vast congre-
CATION of gentlemen and ladies, the very
galleries werethronged.


The wonder that had all along filled him
was now greater than ever. He we'll knew
under what circumstances even an ordina-
rily good house is collected together.
There must either be undoubted fame in the
prima donna, or else the most widespread
and comprehensive efforts on the part of a
skillful impresario. His efforts had been
great, but not such as to insure any thing
like this. To account for the prodigious
crowd which filled every part Of the large
editice was simply impossible.


He did not attempt to account for it. He
accepted the situation, and prepared for
the performance.


What sort of an idea that audience may
have had of the "Prometheus" of Lam
ghetti need hardly be conjectured. They
had heard Of it as a novelty. They had
heard that the company was the best ever
collected at one time, and that the prima
donna was prodigy of genius. That was
enough for them. They waited in state
Of expectation which was SO high-pitched
that it would have proved disastrous in the
extreme to any piece, or any singer who
should prove to be in the slightest degree
inferior. Consummate excellence alone
in every part could now save the piece from
ruin. This Langhetti felt; but he was
calm, for he had confidence in his work
and in his company. Most Of all, he had
confidence in Beatrice.


AT last the curtain rose.


The scene was such one as had never
before been represented. A blaze Of daz-
zling light filled the stage, and before it
stood seven forms, representing the seven
archangels. They began one Of the sub.
limest strains ever heard. Each of these
singers had in some way won eminence.
They had thrown themselves into this
work. The music which had been given
to them had produced an exalted effect up
on their own hearts, and now they rendered
forth that grand "Chorus Of Angels" which
those who heard the "Promethcus" have
never forgotten. The words resembled, in
some measure, the opening song in Goethe's
"Faust," but the music was Langhetti's.


The effect of this magnificent opening
was wonderful. The audience sat spell
bound-hushed into stiffness by those
transceudant harmonies which seemed like
the very song of angels themselves; like
that new song" which is spoken of in
Revelation. The grandeur Of HandePs
stupendous chords was renewed, and every
one present felt its power.


Then came the second scene. Prone
theus lay suffering. The ocean nymphs
were around him, sympathizing with his
woes. The sufferer lay chained to bleak
rock in the summit of frosty Caucasus.
Far and wide extended an expanse of ice.
In the distance arose vast wo:ld Of snow
covered peaks In front was mer de glace
which extended all along the stage.


Prometheus addressed all nature-"the
divine ether, the swift-winged winds,
Earth the All mother, and infinite laugh
ter of the ocean waves" The thoughts
we're those of Eschylus, expressed by the
music of Lang ghetti.


The ocean nymphs bewailed him in a
song of mournful sweetness, whose indies
cribable pathos touched every heart. 1t
was the intensity of sympathy--sympathy
80 profound that it became anguish, for the
heart that felt it had identified itself with
the heart of the sufferer.


Then followed an extraordinary strain.
1t was the Voice Of Universal Nature, an
innate and inanimate, mourning over the
agony of the God of Love. In that. strain
was heard the voice of man, the sighing Of
the winds, the moaning of the sea, the muir
muir of the trees, the wall Of the bird and
beast, all blending in extraordinary unison,
and all speaking Of woe.


fro BE CONTINUED.