The story of “The Queen of Sheba” is not taken from the Bible, but is purely imaginary. It deals with the fascination of Assad, a courtier, by the beautiful Queen, who has indulged in a passage of love with him on her journey to Solomon’s court. When Assad recognizes her in Solomon’s palace, she denies having met him before, but both Solomon and Sulamith, Assad’s promised bride, see that something is wrong. The Queen again shows herself to Assad by night, and the next day in the palace. Assad proclaims the truth. Solomon decrees that the youth must work out his salvation by defeating the powers of evil, and banishes him to the desert. Sulamith seeks him and he dies in her arms, while the Queen and her caravan are seen in the distance returning homeward. Dr. Mosenthal’s libretto is not a fine poetic achievement, but it is theatrically very effective, blending spectacular and dramatic scenes in a telling manner. The composer has made excellent use of his opportunities. Assad’s recital of his first adventure with the Queen, is set to admirably descriptive music, and it is followed by a most captivating ballet and an inspiring chorus of greeting to the Queen. The ensuing scene is richly dramatic. The duet between the Queen and Assad in the moonlit garden is intensely passionate and glows with the warm color of eastern melody. The instrumental richness of the score seems to be quite as natural an outcome of the composer’s fancy as his easy adoption of Oriental rhythms and cadences, which he handled as one to the manner born. The most important objection which has been made to this music is that it is “so unvaryingly stimulated that it wearies and makes the listener long for a fresher and healthier musical atmosphere.” The production of “The Queen of Sheba” in New York was one of the most brilliant spectacles ever seen in America, and the performances were rich in musical merit.