intensity of its finale. It is followed by the entrance of the Queen,
accompanied by a brilliant march and a jubilant chorus ("To the Sun of
the South our Welcome we bring") and a stirring concerted number,
describing the recognition of the Queen by Assad; after which the
chorus resumes its jubilant strain, bringing the act to a close.

The second act opens in the gardens of the palace and discloses the
Queen, who gives expression to her love for Assad and her hatred of
Sulamith in an impassioned aria ("Let me from the festal Splendor").
In the second scene Astaroth, her slave, appears and lures Assad by a
weird strain, which is one of the most effective passages in the opera
("As the Heron calls in the Reeds"). After a short arioso by Assad
("Magical Sounds, intoxicating Fragrance"), a passionate duet with the
Queen follows, interrupted by the call of the Temple-guard to prayer.
The scene changes to the interior of the sanctuary with its religious
service; and with it the music changes also to solemn Hebrew melodies
with the accompaniment of the sacred instruments, leading up to the
stirring finale in which Assad declares his passion for the Queen,
amid choruses of execration by the people.

The third act opens in the banquet-hall upon a scene of festivity
introduced by the graceful bee dance of the Almas. It is followed by
the powerful appeal of the Queen for Assad's life, rising to an
intensely dramatic pitch as she warns the King of the revenge of her
armed hosts ("When Sheba's iron Lances splinter and Zion's Throne in
Ruins falls"). In sad contrast comes the mournful chant which
accompanies Sulamith as she passes to the vestal's home ("The Hour
that robbed me of him"), and ends in her despairing cry rising above
the chorus of attendants as Solomon also refuses her petition.