The composition is in three parts. The first scene is laid in the courtyard of Melnik Castle, where the people are gathered about the statue of the goddess Bába in worship of Bohemian Pagan deities. An introductory orchestral number depicts the dawn, following which are several solos and choruses of women and priests, in which the dawning day and the laughing springtime are joyously proclaimed. Ludmila enters with an invocation to the goddess for blessings on the fatherland, closing with the charming passage, ‘I long with childlike longing,’ to which the chorus adds, ‘The gods are ever near.’ With the approach of Ivan, the serene music changes abruptly, as he implores them in a strong, declamatory aria, ‘Give ear, ye people, one is our God.’ After the destruction of the heathen statue by Ivan amid scenes of great confusion, Ludmila proclaims her faith in the doctrine which Ivan preaches, and the part closes with choruses of lament and alarm by the people. The second part, after an orchestral prelude, discloses Svatava aiding her mistress in finding Ivan, whom they finally discover emerging from a cave. After Ludmila and Svatava have both declared their faith in Christianity, the music suddenly changes. The religious mood gives way to the merry sound of the hunt and the hunters’ chorus. Prince Bořivoy enters and relates how Ivan miraculously healed the wounded hind. As he sees Ludmila, he declares his love for her. Ivan expounds his doctrine to the prince and the hunters, and Bořivoy is also converted. When he again pours out his love for Ludmila, she at first replies, ‘To thee the pleasure of the chase belongs,’ but Ivan urges her to bestow her hand upon the prince, and a quartet and a chorus close the part. The scene of the third part is laid in the cathedral of Velehrad. The royal lovers are baptized, and the noble chorus, ‘Mighty Lord, to us be gracious,’ creates an exalted religious atmosphere. At the conclusion of the ceremony the orchestra enters with trumpet fanfares, followed by solos by Svatava and Ivan with choral responses; and a powerful contrapuntal chorus, a final ‘Alleluia,’ impressively closes the work. II