The Honor soliloquy from Henry IV, with its pizzicati accompaniment and its No! punctuated by a drum tap, is changed into strength and sarcastic humor. When I Was a Page is another gem, and so is the chattering quartet. But why enumerate details? It is a work of which one cannot say “this and this,” it is so rich, so exuberant, so novel, and yet so learned; little wonder then that we marvel. Verdi’s musical scholarship is enormous. He paints delicate, fairylike pictures, using the most delicate pigments and with the daintiest touch imaginable; and then he pens a severe and truthful canon in the second which excites the admiration of the scholar. The minuet is an echo of old time, but how superlatives pale before the wealth of rhythms, modes, subtle tonalities, simple diatonic effects contrasted with gorgeous, sonorous orchestral bursts! And it must not be forgotten that both composer and librettist have caught the true Shakespearean note. The corpulent knight, despite his braggadocio humor, lechery, and gluttony, is a gentleman born, although sadly run to seed because of sack and petticoats. The glamour of the revel at Herne’s Oak, the street scene at dusk, with the gossiping of the women, and the clear, fresh air,—and there is no attempt at Purcell madrigals, English local color,—all these prove Verdi’s sympathy; also that music is a universal language and that an Italian poet-composer may faithfully frame the story of an English dramatist. And with what a light hand and vivacity of speech Verdi has done it! Miracles of construction there are, but the grim bones of theory are never exposed. Even the fugue is jaunty. The love element peeps archly out behind the puffed mask of humor; the note is never deep, just a sigh, and it has departed before you can fairly grasp its beauty. The duos are all charming, and—but what boots idle cataloguing? Its beauties should have become patent to our opera-going public and the work a favorite long ago. “Après moi, le deluge,” said the Wagnerites of the great Richard. “After Wagner, Verdi!” some may explain. Falstaff suggests, of course, Victor Maurel, and our debt of gratitude for his vital and sympathetic interpretations is great. Is there an actor on any stage to-day who can portray both the grossness of Falstaff and the subtlety of Iago? I doubt it. Making all due allowances for the different art medium the singing actor must work in, despite the slight exaggeration of pose and gesture, Maurel had no superior, if indeed an equal, in these two rôles. And then the man’s astonishing versatility! What method, what manner of training has he had? Of what school or schools is he the crystallized product? His voice, worn and siccant, seemed to take on any hue he desired. In Falstaff, you may remember, it was bullying, blandishing, defiant, tender, and gross; full of impure suggestiveness, as jolly as a boon companion. And when he sang “Quando ero paggio del Duca di Norfolk,” how his vocal horizon lighted up!