"Ah! Ye slaves of Hell, your trumpets blow. I come triumphant. This man is mine!" And as he spoke, the two riders fell headlong into the abyss of Hell. Then all the fiends of Hell began to sing wildly. The scene was one of damnation. Then, grandly above Hell's din rose a mighty chorus. It was a heavenly strain. Marguerite had not been spared the horror of execution; but dead, the saints forgave her. In Heaven, as her soul ascended, they sang: "Ascend, O trusting spirit! It was love which misled thee. Come, let us wipe away thy tears. Come, come, and dwell forever among the blest." And thus Faust met his end, and Marguerite her reward for faith and innocence. BIZET When Bizet wrote his music around Prosper Merimee's story of Carmen, he reflected his familiarity with Spanish life and his long living in the Pyrenees mountains. The character of Michaela is not found in the novel, but the clever introduction of it into the opera story adds greatly to dramatic effect, since the gentle and loving character is in strong contrast with that of Carmen. Bizet's name was Alexandre Cesar Leopold, and he was born on October 25, 1838, at Bougival, and died June 3, 1875. He with Charles Lecocq won the Offenbach prize for the best operetta while Bizet was as yet a youth, and from that time his art gained in strength and beauty. In those days it was a reproach to suggest Wagner in musical composition, but Bizet was accused of doing so. Thus he was handicapped by leaning toward an unpopular school at the very start, but the great beauty of his productions made their way in spite of all. He wrote, as his second composition of importance, an opera around the novel of Scott's Fair Maid of Perth--in French, La Jolie Fille de Perth--and this was not a success, but that same opera survives through his Carmen. The Bohemian dance in that opera was taken from it and interpolated into the fourth act of Carmen. Bizet died only three months after the production of this last opera, but he had lived long enough to know that he had become one of the world's great composers. He wrote exquisite pastoral music for "l'Arlesienne"--whose story was adapted from Daudet's novel of that name. In short, Bizet was the pioneer in a new school of French opera, doing for it in a less measure what Wagner has finally done for the whole world. This genius left few anecdotes or personal reminiscences behind him. The glory of his compositions alone seems to stand for his existence. CARMEN CHARACTERS OF THE OPERA WITH THE ORIGINAL CAST, AS PRESENTED AT THE FIRST PERFORMANCE