story ends.

The popular verdict has stamped "Lucia" as Donizetti's masterpiece,
and if the consensus of musicians could be obtained, it would
unquestionably confirm the verdict. It contains incomparably the
grandest of his arias for tenor, the Tomb song in the last act, and
one of the finest dramatic concerted numbers, the sextet in the second
act, that can be found in any Italian opera. Like the quartet in
"Rigoletto," it stands out in such bold relief, and is so thoroughly
original and spontaneous, that it may be classed as an inspiration.
The music throughout is of the most sombre character. It does not
contain a joyous phrase. And yet it can never be charged with
monotony. Every aria, though its tone is serious and more often
melancholy, has its own characteristics, and the climaxes are worked
up with great power. In the first act, for instance, the contrasts are
very marked between Henry's aria ("Cruda, funesta smania"), the chorus
of hunters ("Come vinti da stanchezza"), Henry's second aria ("La
pietade in suo favore"), in which he threatens vengeance upon Edgar,
the dramatic and beautifully written arias for Lucy, "Regnava nel
silenzio" and "Quando rapita in estasi," and the passionate farewell
duet between Lucy and Edgar, which is the very ecstasy of commingled
love and sorrow. The second act contains a powerful duet ("Le tradirmi
tu potrai") between Lucy and Henry; but the musical interest of the
act centres in the great sextet, "Chi mi frena," which ensues when
Edgar makes his unexpected appearance upon the scene of the marriage
contract. For beauty, power, richness of melody and dramatic
expression, few concerted numbers by any composer can rival it. The
last act also contains two numbers which are always the delight of
great artists,--the mad song of Lucy, "Oh, gioja che si senti," and
the magnificent tomb scena, "Tomba degl'avi miei," which affords even