When Heinz awakes, and finds the loveliest of the maidens beside him, he falls as deeply in love as the young lady, but their tender interview is soon interrupted by the blowing of hunter's horns.

In the third act Count Gerold, who has come with a suite, to accompany the Princess on a hunt, is presented with the Emperor's document by Heinz, who cannot read and who is wholly ignorant of the change which Agnes has made. Though greatly astonished at the Emperor's command to wed Agnes to the bringer of his letter, Count Gerold is accustomed to obey, and Heinz, who first refuses compliance with the strange command, at once acquiesces, when he sees that his lady-love and the Princess are one and the same person. About to go to church, they are detained by the Emperor, who scornfully charges Heinz with fraud.

But when Count Gerold presents the document, his scorn turns on Agnes and he orders her to a convent. Heinz fervently entreats the Emperor to pardon Agnes, and takes a tender farewell of her. On the point of departing for ever, he sees the three ambassadors, whom he recognizes and loudly denounces as robbers and swindlers. Boccanera is obliged to own that his wound came from Junker Heinz, who caught him stealing sheep. They are led to prison, while the Emperor, grateful to Heinz for his daughter's delivery from robbers, gives her to him and makes Heinz Duke of Suabia, persuaded that it is useless to fight against that which the stars have prophesied.

A KING AGAINST HIS WILL.
(DER KONIG WIDER WILLEN.)

Comic Opera in three acts by EMANUEL CHABRIER.
Text after a comedy written by ANCELOT, from EMILE DE NAJAC and PAUL BURANI.

The composer has recently become known in Germany by his opera Gwendoline, performed at Leipsic a short time ago. His latest opera, "A King against his will", was represented on the Royal Opera in Dresden, April 26th 1890, and through its wit, grace and originality won great applause.—Indeed, though not quite free from "raffinement", its melodies are exquisitely interesting and lovely. Minka's Bohemian song, her duet with De Nangis, her lover, as well as the duet between the King and Alexina are master-pieces, and the national coloring in the song of the Polish bodyguard is characteristic enough.

The libretto is most amusing, though the plot is complicated. The scene is laid at Cracow in the year 1574.—Its subject is derived from a historical fact. Henry de Valois has been elected King of Poland, through the machinations of his ambitious mother, Catarina di Medici, to whom it has been prophesied, that all her sons should be crowned.

The gay Frenchman most reluctantly accepts the honor, but the delight of his new Polish subjects at having him, is not greater than his own enchantment with his new Kingdom.

The first act shows the new King surrounded by French noblemen, gay and thoughtless like himself; but watching all his movements by orders of his mother, who fears his escape. By chance the King hears from a young bondwoman Minka, who loves De Nangis, his friend, and wishes to save him a price, that a plot had been formed by the Polish noblemen, who do not yet know him personally, and he at once decides to join the conspiracy against his own person.—Knowing his secretary, Fritelli to be one of the conspirators, he declares that he is acquainted with their proceedings and threatens him with death, should he not silently submit to all his orders.—The frightened Italian promises to lead him into the house of Lasky, the principal conspirator, where he intends to appear as De Nangis. But before this, in order to prevent discovery he assembles his guard and suite, and in their presence accuses his favorite De Nangis with treachery, and has him safely locked up in apparent deep disgrace.