new ideas which Gluck had advanced for the reform of the lyric stage.
Twelve years later the composer revised the work. Several new numbers
were added, its acts were extended to three, and the principal rôle
was rewritten for a high tenor in place of the alto, to whom it had
been originally assigned. In this form it was brought out at the Paris
Académie, Aug. 2, 1774. In 1859 it was revived in Paris, for which
occasion Berlioz restored the original alto part for Mme.
Viardot-Garcia. With its performances in this country by the American
Opera Troupe during the season of 1885-86, under the direction of Mr.
Theodore Thomas, our readers are already familiar. The three soloists
during that season were Helene Hastreiter, Emma Juch, and Minnie
Dilthey.

The story, except in its denouement, closely follows the antique
legend. After performing the funeral rites of Eurydice, Orpheus
resolves to seek for her in the world of Shades, having received
permission from Zeus upon condition that he will not look upon her
until they have safely returned. Orpheus descends to Hades; and though
his way is barred by phantoms, his pleading appeals and the tender
tones of his harp induce them to make way for him. He finds Eurydice
in the Elysian fields, and taking her by the hand leads her on to the
upper world. In a fatal moment he yields to her desire to see him, and
she sinks back lifeless. Love, however, comes to the rescue, and full
of compassion restores her. Thus the happy lovers are reunited; and
the opera closes without the tragic denouement of the old myth. In the
American performances the opera was divided into four acts, which is
the order we shall follow.

The short overture is characterized by a grandeur and solemnity that
well befit the pathetic story. The curtain rises upon a grotto