who has ventured upon the haunted field. But Russlan overcomes the monster head with the magic sword, as directed by Finn. In order to give weight to the Giant's voice Glinka has supplemented the part by a small male chorus which sings from within the head. The prelude to the third act is generally omitted, and is not in fact printed in the pianoforte score of the opera. The opening number, a Persian chorus for female voices, "The Night lies heavy on the fields," is full of grace and oriental languor. The subject of the chorus is a genuine Persian melody and the variations which form the accompaniment add greatly to the beauty of these pages. The chorus is followed by an aria for Gorislava (soprano), Ratmir's former love, whom he has deserted for Liudmilla. This air with its clarinet obbligato is one of the most popular solos in the opera. In answer to Gorislava's appeal, Ratmir appears upon the scene and sings a charming nocturne accompanied by _cor anglais_. The part of the young oriental lover is usually taken by a woman (contralto). For this number Glinka makes use of a little Tatar air which Ferdinand David afterwards introduced, transposed into the major, in his symphonic poem "Le Désert." It is a beautiful piece of landscape painting which makes us feel the peculiar sadness of the twilight in Russia as it falls on the vast spaces of the Steppes. A French critic has said that it might have been written by an oriental Handel. The scene described as the seduction of Ratmir consists of a ballet in rococo style entitled "Naina's magic dance." Then follows a duet for Gorislava and Ratmir, after which the maidens of the harem surround Ratmir and screen Gorislava from him. Afterwards the enchanted palace created by Naina to ensnare Ratmir suddenly vanishes and we see the open plain once more. The act concludes with a quartet in which Russlan and Finn take part with the two oriental lovers.