dict, which has many disadvantages. Nevertheless, Oberon was a favourite opera in England and America during the Victorian era. Tietjens sang Rezia and Alboni sang Fatima; later, Pappenheim and Parepa-Rosa sang Rezia (often spelled Reiza) and Trebelli sang Fatima. The work, however, had never been performed at the Metropolitan Opera House until Arthur Bodanzky prepared his version. Aside from the lack of a definitive version, if any such lack were felt, there were probably many excellent reasons for this delay. The opera demands a great number of elaborate decorations, including the representation of a storm on a rocky coast, fairy festivals, and caliph's banquets. Obviously, expense is involved. Then the music exacts, for its correct interpretation, not only voices of great range, but also consummate art. The part of Rezia is beyond the reach of many a dramatic soprano, and tenors might sing Edgardo, Radames, Canio, and Rodolfo all their lives without being able to get through the first air of Huon.
Mr. Bodanzky telescoped the text into nine scenes, omitting several of the characters whose dialogue was spoken and providing music for the others. In every instance, this music is built up on themes found in the work itself. The final chorus, for example, is constructed on the num-
