Herman, a young lieutenant of hussars, a passionate gambler, falls in love with Lisa, whom he has only met walking in the Summer Garden in St. Petersburg. He discovers that she is the grand-daughter of an old Countess, once well known as "the belle of St. Petersburg," but celebrated in her old age as the most assiduous and fortunate of card-players. On account of her uncanny appearance and reputation she goes by the name of "The Queen of Spades." These two women exercise a kind of occult influence over the impressionable Herman. With Lisa he forgets the gambler's passion in the sincerity of his love; with the old Countess he finds himself a prey to the most sinister apprehensions and impulses. Rumour has it that the Countess possesses the secret of three cards, the combination of which is accountable for her extraordinary luck at the gaming-table. Herman, who is needy, and knows that without money he can never hope to win Lisa, determines at any cost to discover the Countess's secret. Lisa has just become engaged to the wealthy Prince Yeletsky, but she loves Herman. Under pretext of an assignation with Lisa, he manages to conceal himself in the old lady's bedroom at night. When he suddenly appears, intending to make her divulge her secret, he gives her such a shock that she dies of fright without telling him the names of the cards. Herman goes half-mad with remorse, and is perpetually haunted by the apparition of the Countess. The apparition now shows him the three fatal cards. The night after her funeral he goes to the gaming-house and plays against his rival Yeletsky. Twice he wins on the cards shown him by the Countess's ghost. On the third card he stakes all he possesses, and turns up--not the expected ace, but the Queen of Spades. At that moment he sees a vision of the Countess, who smiles triumphantly and vanishes. Herman in despair puts an end to his life. The subject, although somewhat melodramatic, offers plenty of incident and its thrill is enhanced by the introduction of the supernatural element. The work entirely engrossed Tchaikovsky. "I composed this opera with extraordinary joy and fervour," he wrote to the Grand Duke Constantine, "and experienced so vividly in myself all that happens in the tale, that at one time I was actually afraid of the spectre of the Queen of Spades. I can only hope that all my creative fervour, my agitation and my enthusiasm will find an echo in the hearts of my audience." In this he was not disappointed. _The Queen of Spades_, first performed in St. Petersburg in December, 1890, soon took a strong hold on the public, and now vies in popularity with _Eugene Oniegin_. It is strange that this opera has never found its way to the English stage. Less distinctively national than _Eugene Oniegin_, its psychological problem is stronger, its dramatic appeal more direct; consequently it would have a greater chance of success.