This splendidly managed scene winds up with a stirring chorus, "C'en est donc fait! il a brisé sa chaine," worked out on the theme of the national air already appearing in the prelude which takes the place of overture to the opera.
The fourth act is also divided into two parts. The first is laid in Anne Boleyn's chamber. The curtain rises on a graceful song and dance, during which Norfolk and Surrey carry on an aside conversation very ingeniously interwoven with the dance-music. The next scene, between Anne and Don Gomez, has a charming air, sung with much expression by M. Dereims. A dialogue between the King and Don Gomez closes this first part.
The second shows us a huge apartment in the banished Queen Katherine's lodging at Kimbolton Castle. The touch of a master-hand is evident all through these closing scenes of M. Saint-Saëns' opera. They are instinct with incomparable power.
There is an admirable truth and sincerity in the Queen's soliloquy, full of tender and mournful expression. She presently distributes some of her belongings as keepsakes to her waiting-women. This little scene, almost domestic in its familiarity, is ennobled by the deep feeling with which the author has inspired it. Thus does truth elevate everything it touches!
Next comes the magnificent scene between Queen Katherine and Anne Boleyn. Mdlle. Krauss's comprehension and rendering of the Queen's superb note of indignation marked the consummate tragedian; her acting of the part rose to a striking level both of expression and of power.
The final numbers of this second and closing part form what is known in theatrical parlance as the clou of the drama. It is overwhelming. Never did curtain fall on anything more thrilling. Situation, music, singing, acting, all contribute to the powerful impression caused by this splendid scene—which called forth thunders of applause.
Such, as far as so hasty a description can give any idea of it, is M. Camille Saint-Saëns' new work.
As for the performers—every one of them fully equal to their task—we must first mention those who played the three principal parts: Mdlle. Krauss (Katharine of Aragon), Mdlle. Richard (Anne Boleyn), and M. Lassalle (Henry VIII.). Next come M. Boudouresque (the Papal Legate), M. Dereims (Don Gomez), M. Lorrain (Norfolk), M. Sapin (Surrey), and M. Gaspard (Archbishop of Canterbury).
Mdlle. Krauss was full of grandeur, nobility, and royal dignity. Both as actress and as singer, she proved her wonderful power of pathos. In the final scene especially, she sang, acted, suffered, with a truthfulness and intensity of expression which literally overwhelmed the onlookers with the sense of its reality. What a splendid artiste! What numberless parts she has identified with herself! How gallantly she plays them all! What a place she holds on our stage! What a void her absence would leave!
The part of Anne Boleyn gave Mdlle. Richard the opportunity of displaying all the charm of her full and beautiful voice, the rich tone of which is never strained by the wisely and well written music of her part.