performed, the sea is opened to leave a path for the people protected
by the Lord. This last part is in the major. It is impossible to imagine
the thunders of applause that resounded through the house: one would
have thought it was coming down. The spectators in the boxes, standing
up and leaning over, called out at the top of their voices, '_Bello,
bello! O che hello!_', I never saw so much enthusiasm nor such a
complete success, which was so much the greater, inasmuch as the people
were quite prepared to laugh.... I am almost in tears when I think of
this prayer. This state of things lasted a long time, and one of its
effects was to make for its composer the reputation of an assassin,
for Dr. Cottogna is said to have remarked: 'I can cite to you more than
forty attacks of nervous fever or violent convulsions on the part of
young women, fond to excess of music, which have no other origin than
the prayer of the Hebrews in the third act, with its superb change of
key.'" Thus by a stroke of genius, a scene which first impressed the
audience as a piece of theatrical burlesque, was raised to sublimity by
the solemn music written for it.

M. Bochsa some years afterward produced "Mosé" as an oratorio in London,
and it failed. A new libretto, however, "Pietro L'Eremito,"* again
transformed the music into an opera.

* The same music was set to a poem founded on the first
crusade, all the most effective situations being
dramatically utilized for the Christian legend.

Ebers tells us that Lord Sefton, a distinguished connoisseur, only
pronounced the general verdict in calling it the greatest of serious
operas, for it was received with the greatest favor. A gentleman of high
rank was not satisfied with assuring the manager that he had deserved