composer’s musical development had reached. This portion of the opera and the fourth act are by far the finest achievements of Thomas. The orchestra through the whole opera is treated with consummate power, notably in the beautiful effects obtained by unaccustomed groupings of the different instruments. In the ingenious blendings of tone-color that are produced by combining widely varying timbres with a skill as profound as felicitous; the richness, ripeness, and perfection of the scoring generally; as well as the masterly discretion observed in maintaining a judicious balance between the orchestra and the singers, the score may be justly given a place among the most masterly that modern musical art has produced. For the rest, despite some splendid dramatic moments in the work and the faultless finish of its workmanship as a whole, it is to be doubted if it will live. But how few works do live! Many glorious operas have been written since “Don Giovanni” and “Fidelio” saw the light, and yet not one has appeared that has yet been accorded a place by their side. Hundreds of operas that met with a brilliant and deserved success in their day, have fallen gradually into the background; operas by Spontini, who, in “La Vestale,” just escaped producing an immortal masterpiece; by Cherubini, whose “Les Deux Journées” came nearer winning the third place than any opera since; by Rossini, Bellini, Donizetti, Verdi, Meyerbeer, whose “Les Huguenots” is his only work that bids fair to survive; by Weber, whose “Der Freischütz” alone promises to last. The supreme operas of the world might be named on the fingers of one hand. Mention of Wagner has been avoided because he is yet to experience the test of time,—that incorruptible and most pitiless of critics. It is the fate of some admirable and justly honored composers to learn their ultimate reputation with posterity during their lifetime. Among these, we think, is Ambroise Thomas, and that reputation will include respectful consideration for an eminent and able musician, who constantly grew in his art; while it will accord him a prominent place in the ranks of wholly estimable opera composers of the second order. [Illustration: B. E. Woolf] [Illustration: GEORGES BIZET _Reproduction of a photograph from life, by Carjat & Cie., Paris._ ] [Illustration: [Fleuron]] ALEXANDRE CÉSAR LÉOPOLD BIZET. Alexandre César Léopold Bizet was born in Paris, Oct. 25th, 1838. His godfather called him “Georges,” and as “Georges,” Bizet is known to the world at large. The father of Bizet was an artisan, who, at the age of twenty-five, studied music, and became a teacher of singing. He outlived his son. The mother was a sister of the wife of Delsarte. She was a pianist of ability, a “first prize” of the Conservatory. From her Bizet learned the alphabet and musical notation. From his father he learned the use of the pianoforte, and the elements of harmony.