and other "properties," but most conspicuous is the tomb or mausoleum of Ninus. For a second time the Assyrian noblemen and people gather to hear the appointment of a new king. As they sing a sweeping march, Semiramis enters more gorgeously arrayed than ever. She takes her place at the throne, and with an imperious gesture commands allegiance to the king of her choice. These regal phrases contain such a prodigality of dazzling colorature that we are reminded of the far-famed hanging gardens devised by this same extravagant queen. In the matter of lavish display the music of "Semiramide" is strikingly appropriate. Assur, Arsaces, Idrenus, and Oroe vow obedience, and their hymn-like ensemble is one of the grandest themes Rossini ever composed. Like the prayer from Weber's "Freischütz," this quintet has long held a place in church choir-books, and a more religious and inspiring melody could hardly be imagined. The soprano scatters delicious appoggiaturas and cadenzas above the steady and noble ensemble like flowers upon an altar. The "Semiramide Quintet" is another one of its claims to lasting fame.
In a lighter vein is the queen's next proclamation, to the effect that the future king shall also be her husband. This arouses general surprise. But when she finally designates Arsaces, the amazement on all sides is loud. Assur demands justice from the queen, insinuating some secret compact that she dare not disregard. He is haughtily silenced by Semiramis, who at the same time bestows upon him the hand of fair Azema.
Poor Arsaces is beside himself. He tries to explain, but the queen will listen to no remonstrances. An altar is brought forward, and the priests are about to pronounce the marriage bans when a hollow, subterranean sound and distant thunder cause consternation. The people are horrified to behold the tomb of Ninus slowly open and its occupant step forth. Turning to Arsaces, the ghost bids him avenge a terrible crime: "With courage into my tomb descend; there to my ashes a victim thou shalt offer. But first obey the counsel of the priest." The ghost disappears, and the act closes with a strong chorus of dismay. Semiramis leads the singing, and for once her music has only prim quarter-notes and half-notes: her colorature is all frightened away.
The next act contains an interview between Assur and Semiramis, wherein we learn about the crime so often referred to. The late King Ninus was poisoned by Assur, who had been promised the throne. But the guilty queen has since preferred Arsaces, and this explains Assur's great anger. He threatens to kill the young favorite; but Semiramis has resumed her ostentatious manner and music, and will not heed his words.
There follows a scene in the queen's apartment. She is still striving to win Arsaces, but her overtures repel him more than ever. He has just returned from an interview with the priest. The contents of the casket have been revealed to him, and he shows Semiramis a paper proving the startling fact that Arsaces himself is her long-lost son. He has also learned that Ninus, his father, was murdered. Remorse promptly overtakes the queen. She weeps and wails in chromatics and scales that quite touch Arsaces. They sing a glorious duet that is like a benediction, so noble and pure are its harmonies. It is called "Giorno d'orrore" (day of horror). Arsaces bids his mother adieu. He is going to the tomb to avenge his father's death, tho he knows not how nor whom he shall strike. It rests with the gods to guide him; he only obeys the command. There follows another smoothly flowing duet resembling all the others in its simple structure, unmistakable rhythm, and prominent melody.
The finale of "Semiramide" has little to commend it, being absurd in action and presenting only one pleasing or noticeable theme. This is a dainty, quaint violin passage that delighted us in the overture, but which we never thought of connecting with a tragic climax. How different is this tomb music from that of Gounod's "Romeo and Juliet!" There the marvelous harmonies are like sweet dreams accompanying the sleep of death, but here we are only conscious of the "deep, damp vault, the darkness and the worm."
The chief absurdity of this scene lies in the fact that it should be too dark for the characters to see each other and yet it must be light enough for the audience to see everything. Another incongruity is the assembling of all the principals and a good-sized chorus in this tomb where we expected Arsaces alone. But it is explained that Assur heard of the hero's coming and planned to follow with the intention of killing him; Oroe heard of Assur's plan and brings an armed guard to protect Arsaces; and, finally, Semiramis follows because she is anxious about everybody and everything.
They enter at different times; grope around among tombs, and pretend not to see each other. Arsaces finally hears and recognizes the voice of Assur. He has no doubt that the gods have sent Assur to be the victim. The hero promptly stabs in the direction of the voice, but because it is so very dark he happens to kill Semiramis instead of Assur. But this mistake does not much affect either the music or the action. The final chorus of the opera is as light and bright as the first.
A CALL ON EMMA EAMES
A call at the Hotel Marie Antoinette is a veritable eighteenth-century dream. A powdered footman in satin knee-breeches and the full court costume of that period flings open the great glass doors as you enter, and another one escorts you around some columns, and through some curtains, and down some steps to the main reception-room, where you wait while your name is announced.
The Hotel Marie Antoinette is very exclusive, so you happen to be alone in this great apartment, with its stained-glass dome and carved-oak walls; alone, excepting for the pretty soft-voiced maid who is arrayed as were the ladies-in-waiting of the Trianon. She assists you in removing your wraps, and at the same time talks enthusiastically about the great personage you have come to see.
"We all here just love her, she is so gracious and appreciative of everything we do, and so kind to us. She gives us tickets to the opera, and she isn't at all proud or haughty. She often comes in here of an afternoon to have tea. There is her corner where she always sits"—and the maid points quite reverentially to a dainty recess curtained with tapestries and dreamily illumined by a huge pendant red globe. As your glance roams on, you find many objects that hold your attention. There are historic cabinets of rare value and workmanship, little tea-tables beside the various couches, bearing trays of antique china and tiny spoons of old silver, all sought and selected from the castles and treasure-rooms of Europe. There is one dainty solid gold clock that belonged to Marie Antoinette and was used in her boudoir. Another one which she also owned is jeweled with turquoise and garnets. Many valuable miniatures of the unfortunate queen and her family are on the desks and writing-tables. In one enticing alcove are two rows of sumptuous volumes bound in red and gold whose mere titles set one to dreaming of court intrigues and palace revels. "The Secret Memoirs of the Court" comprise one set of ten books; ten more are devoted to Napoleon, and "The Life and Times of Louis XV." also occupies much shelf-room; while on the center-table is a collection of engravings portraying the life of Marie Antoinette.
You quite feel yourself a court lady by this time; and when the powdered dignitary again appears and calls out your name in stately tones, you follow him with a sense of importance quite pleasant and unusual. You are led past more columns and through more curtains, until finally he leaves you in a moderate-sized ante-room. Here you wait for some moments, expectantly watching the doorway by which you entered, when suddenly, on the opposite side of the room, some folding-doors which you had not noticed are flung wide open by unseen hands, and behold the queen—of grand opera, Madame Emma Eames!
It was indeed a right royal vision I beheld: a beautiful woman, in every sense of the term, clad in a fawn-colored gown of rich design, and bejeweled with chains of pearls and a brooch of diamonds. She was seated on a pale satin divan, but came forward to greet her visitor, and shook hands cordially. Madame Eames is more than beautiful, for together with regular features and soft curves she has a strong face and a pose of the head that is all determination and force. She is tall and full-figured, her hair is dark, and her eyes are very blue.
She displayed a charming smile as she motioned her visitor to a seat near by, and then followed a rapid sequence of questions and answers. Madame Eames showed a kindly response to her visitor's spirit of earnestness, and tried to tell as much as possible in every reply she made.
First in order of interest is the fact that she was born,
