Solomon is Wolfram von Eschenbach. The ethical force of the drama--
it has some, though very little--was weakened at the performances
at the Metropolitan Opera House [footnote: Goldmark's opera was presented for
the first time in America at the Metropolitan Opera House on
December 2, 1885. Cast: Sulamith, Fraulein Lilli Lehmann; die
Konigin von Saba, Frau Kramer-Wiedl; Astaroth, Fraulein Marianne
Brandt; Solomon, Herr Adolph Robinson; Assad, Herr Stritt; Der Hohe
Priester, Herr Emil Fischer; Baal-Hanan, Herr-Alexi. Anton Seidl
conducted, and the opera had fifteen representations in the season.
These performances were in the original German. On April 3, 1888,
an English version was presented at the Academy of Music by the
National Opera Company, then in its death throes. The opera was
revived at the Metropolitan Opera House by Mr. Conried in the
season 1905-1906 and had five performances.] in New York by the
excision from the last act of a scene in which the Queen attempts
to persuade Assad to go with her to Arabia. Now Assad rises
superior to his grosser nature and drives the temptress away, thus
performing the saving act demanded by Solomon.

Herr Mosenthal, who made the libretto of "Die Konigin von Saba,"
treated this material, not with great poetic skill, but with a
cunning appreciation of the opportunities which it offers for
dramatic effect. The opera opens with a gorgeous picture of the
interior of Solomon's palace, decked in honor of the coming guest.
There is an air of joyous expectancy over everything. Sulamith's
entrance introduces the element of female charm to brighten the
brilliancy of the picture, and her bridal song--in which the refrain
is an excerpt from the Canticles, "Thy beloved is thine, who feeds
among the roses"--enables the composer to indulge his strong
predilection and fecund gift for Oriental melody. The action