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 ber, subsequently discarded, which Weber wrote for Braham. The result may be regarded as generally admirable, for Mr. Bodanzky's work has the desirable effect of knitting together the very lovely music of the piece. Oberon assuredly has the ardency of true beauty. The overture and Rezia's grand air are both familiar in the concert room, but both are heard to more advantage in the opera house. For Ocean, thou mighty monster, indeed, scenic embellishment is more essential than for the final scene of Die Walkie, and the overture, with its foreshadowing of the fairy music, Huon's chivalric air, and the quartet, Over the dark blue waters, comes back to memory with renewed force and meaning after the fall of the final curtain. For myself, I may say that I like Oberon almost as much as I like the operas of Gluck and Mozart, and a great deal more than I like the lyric dramas of Richard Wagner.

The third rewritten opera in the repertory of the Metropolitan Opera House is presented in its new form in direct opposition to the intentions of the composer and against the protests of the composer's widow. It is amusing to recall that the composer was Rimsky-Korsakoff who, after his death, has been served as he served others. In this instance, however, music and book escape