584 



NAZARENES. 



Danesi, music by Giaquinta (Milan, Scala, in 

 January), was given with great success. " La 

 Tzigane," by Edmund Cattier, music by Stou- 

 mon (Brussels, Theatre de la Monnaie. 



1886 : " Amor," by Manzotti, music by Ma- 

 renco (Milan, Scala, in February), had great 

 success, and was immediately accepted for 

 performance at the Opera House of Vienna, the 

 Theatre Eden of Paris, the Victoria Theatre 

 in Berlin, the Teatro Costanzi of Rome, and 

 the National Theatre in Prague. " Uriella," a 

 fantastic ballet-divertissement after Mazielier 

 (Frankfort, Stadttheater, March 16). "Pierrot 

 Macabre," by Hannot and Hansen, music by 

 Lanciani (Brussels, Theatre de la Monnaie, in 

 March). " Fata Morgana," lyric-choreographic 

 drama in four acts, by Mosenthal, music by 

 Josef Hellmesberger, Jr. (Vienna, Opera House, 

 March 30), an attempt to blend opera and bal- 

 let ; the work is well equipped musically, and 

 was heartily applauded. " Les Deux Pigeons," 

 in two acts (three tableaux), by Henry Regnier 

 and L. Me>ante, after La Fontaine's fable, 

 music by Andr6 Messager (Paris, Opera, Octo- 

 ber 18), was eminently successful ; the scene 

 is on the coast of Thessaly, and presents a se- 

 ries of brilliant pictures and surprising effects, 

 well accompanied by the composer's easily 

 flowing music. " Deutsche Marsche," in three 

 acts (four tableaux), by Alfred Holzbock and 

 Louis Frappart, music by Josef Bayer (Berlin, 

 Royal Opera House, October 23), received cor- 

 dial applause. " Viviane," by Gondinet, mu- 

 sic by Raoul Pugno and Clement Lippacher 

 (Paris, Theatre Eden, October 28), met with 

 decided success. '' Dresdina," by Hansen, mu- 

 sic by M. Jacobi (London, Alhambra Theatre, 

 in November), in which the finest products of 

 German ceramic art in the last century are 

 impersonated upon the stage; the exquisite 

 figures, created by the industry of Dresden, 

 Meissen, and Ludwigsburg were represented 

 faithfully after the models, the unique combi- 

 nation of colors of that art period producing a 

 dazzling effect. " Myosotis," by Saracco, mu- 

 sic by Flon (Brussels, Theatre de la Monnaie, 

 December 11). "Ein Marchen aus der Cham- 

 pagne," an allegorical-fantastic ballet, by Will- 

 mer, music by Ignaz Briill (Vienna, Opera 

 House, December 14), met with a compliment- 

 ary reception ; the music, without showing 

 prominently characteristic qualities, is pleasing 

 and elegant. 



1887: "Der Blumen Rache," by August 

 Reissmann (Weisbaden, Hoftheater, February 



5); the subject is borrowed from the well- 

 known poem by Freiligrath, and was most 

 skillfully interpreted by the composer. ' Ned- 

 jira," by Nuitter, music by Paul Gennevray 

 (Monte Carlo, Monaco, in February), was 

 given with great success. "Die verwandelte 

 Katze," by Zell, music by Josef Hellmesber- 

 ger, Jr. (Vienna, Opera House, February 14), 

 earned cordial applause, especially for the 

 composer's refined music, which includes sev- 

 eral charming dances. " Orphee et les Bac- 

 chantes," by D'Alexandri and Felix Galey, 

 music by the latter (Toulouse, Theatre du 

 Capitole, in March), was successful. "Les 

 Gitanos," by G. Adrien, music by Marius Car- 

 man (Paris, Folies-Bergeres, in March). "Na- 

 renta," by Manzotti, music by De Giorza (Mi- 

 lan, Scahi, in March). " Le Lion arnoureux," 

 in one act. with choruses, by Cosseret and 

 Agoust, after La Fontaine, music by Felix 

 Pardon (Brussels, Theatre de la Monnaie, 

 about the middle of March). " Lauretta," com- 

 ic ballet by Ginghini, music by Bernhard Trie- 

 bel (Frankfort, Opera House, April 21). "Le 

 Chateau de Mac-Arrot," music by Cieutat (Par- 

 is, Folies-Bergeres, in April). "Les Constel- 

 lations," music by Laffont (Marseilles, Grand- 

 Theatre, in April), met with decided success. 

 " Die Harlemer Tulpe," music by Scheel (St. 

 Petersburg, in October). 



1888 : " Teodora," by Grassi, music by Ma- 

 renco (Naples, Teatro San Carlo, in January). 

 " Au fond des Bois," by Leopold Roux, music 

 by Gustave Mack (Nantes, in March). " Calirr- 

 hoe," by Elzear Rougier, music by Mile. Cha- 

 minade (Marseilles, Grand Theatre, in March). 

 '' Fletir de Neiges," by Ricard, music by Albert 

 Cahen (Geneva, Grand Theatre, April 6). 

 "Rolla," by Manzotti, music by Angeli (Paris, 

 Theatre Eden, May 24). " La Rose d' Amour," 

 by Kathi Lanner, music by Herve, and " Diana," 

 by the same authors (London, Empire Theatre, 

 the first in July, the second in December). 

 " Antiope," by Casati, music by Georges Jacobi 

 (London, Alhambra Theatre, in July). "La 

 Rfcluta," comic ballet, by Le Grassi, music by 

 Herbin (Palermo, Circo Universale, in July or 

 August). " Die Puppenfee," pantomimic di- 

 vertissement, in one act, by J. Hassreiter and 

 Franz Gaul, music by Josef Baier (Vienna, 

 Opera House, October 4). "II Saltimbanco," 

 by Pogna, music by Bonicioli (Milan, Teatro 

 dal Verme, in October). " Milenka," music 

 by Jan Blockx (Brussels, Theatre de la Mon- 

 naie, first week in November). 



N 



NAZARENES. The Nazrsrenes are a denomi- 

 nation composed of persons who seceded from 

 the Christadelphians in 1873, on account of 

 dissent from the doctrines of that sect on the 

 depravity of the human race and their ascrip- 

 tion to Christ of a share and inheritance in 



that depravity, as expressed in the article of 

 the Christadelphian " Statement of First Prin- 

 ciples," ' He (Christ) inherited the conse- 

 quences of Adam's sin, including the sentence 

 of death." This doctrine the Nazarenes vig- 

 orously oppose, and teach that Jesus Christ 



