England and the Lord Chamberlain's censorship, et Gounod's "Reine deSaba," The transmigrations of "Un Ballo in Maschera," How composersrevamp their music, et seq,—Handel and Keiser, Mozart and Bertati,Beethoven's readaptations of his own works, Rossini and his "Barber ofSeville," Verdi's "Nebuchadnezzar," Rossini's "Moses," "Samson etDalila," Goldmark's "Konigin von Saba," The Biblical operas ofRubinstein, Mehul's "Joseph," Mendelssohn's "Elijah" in dramatic form,Oratorios and Lenten operas in Italy, Carissimi and Peri, Scarlatti'soratorios, Scenery and costumes in oratorios, The passage of the RedSea and "Dal tuo stellato," Nerves wrecked by beautiful music, "Peterthe Hermit" and refractory mimic troops, "Mi manca la voce" andoperatic amenities, Operatic prayers and ballets, Goethe's criticism ofRossini's "Mose,"
Dr. Chrysander's theory of the undramatic nature of the Hebrew, hisliterature, and his life, Hebrew history and Greek mythology, Someparallels, Old Testament subjects: Adam and Eve, Cain and Abel, The"Kain" of Bulthaupt and d'Albert, "Tote Augen," Noah and the Deluge,Abraham, The Exodus, Mehal's "Joseph," Potiphar's wife and RichardStrauss, Raimondi's contrapuntal trilogy, Nebuchadnezzar, JudasMaccabaeus, Jephtha and his Daughter, Judith, Esther, Athalia,
Anton Rubinstein and his ideals, An ambition to emulate Wagner, "TheTower of Babel," The composer's theories and strivings, et seq.—DeanStanley, "Die Makkabaer," "Sulamith," "Christus," "Das verloreneParadies," "Moses," Action and stage directions, New Testament storiesin opera, The Prodigal Son, Legendary material and the story of theNativity, Christ dramas, Hebbel and Wagner, "Parsifal,"
The predecessors of M. Saint-Saens, Voltaire and Rameau, Duprez andJoachim Raff, History of Saint-Saens's opera, et seq.—Henri Regnault,First performances, As oratorio and opera in New York, An inquiry intothe story of Samson, Samson and Herakles, The Hebrew hero in legend, Atrue type for tragedy, Mythological interpretations, Saint-Saens'sopera described, et seq.—A choral prologue, Local color, The characterof Dalila, et seq.—Milton on her wifehood and patriotism, "Printempsqui commence," "Mon coeur s'ouvre a ta voix," Oriental ballet music,The catastrophe,
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