The work opens with a fiery introduction representing the combats and tumults of the two rival houses of Capulet and Montague, and the intervention of the Prince. It is followed by a choral recitative for four altos, tenors, and basses ("Long smouldering Hatreds"), with which is interwoven a contralto solo ("Romeo too is there"), the number closing with a passionate chorus ("The Revels now are o'er"). A beautiful effect is made at this point by assigning to the alto voice two couplets ("Joys of first Love") which are serious in style but very rich in melody. A brief bit of choral recitative and a few measures for tenor--Mercutio's raillery--lead up to a dainty scherzetto for tenor solo and small chorus ("Mab! bright Elf of Dreamland"), and a short choral passage brings this scene to a close. The second scene, which is for orchestra only, an impressive declamatory phrase developing into a tender melody, representing the sadness of Romeo, set in tones against the brilliant dance music in the distance accompanying the revel of the Capulets, is one of the most striking effects Berlioz has accomplished, and illustrates his astonishing command of instrumentation. The third scene represents Capulet's garden in the stillness of night, the young Capulets passing through it, bidding each other adieu and repeating snatches of the dance music. As their strains die away in the distance the balcony scene between Romeo and Juliet is given by the orchestra alone in a genuine love-poem full of passion and sensuousness. No words could rival the impassioned beauty of this melodious number. The fourth scene is also given to the orchestra, and is a setting of Mercutio's description of Queen Mab. It is a scherzo intensely swift in its movement and almost ethereal in its dainty, graceful rhythm. The instrumentation is full of subtle effects, particularly in the romantic passages for the horns.