the previous General Synod, to promote the rise of the West Indian missions to self-support. Endeavors were advised to encourage the training of native preachers in other mission lands. A new mission, to be begun in the Island of Trinidad, was resolved upon. Measures were taken to provide for the consecration of a bishop for each of the larger missionary fields. The chapter on the use of the lot was ordered omitted from the General Synod results; but, according to the report of the Unity's Elders' Conference, those who wish the lot for their private guidance will not be deprived of it. It will simply not be forced upon any. The Synod expressed "its deep-rooted abhorrence of the traffic in intoxicating liquors among uncivilized heathen races, by means of which the natives are not only morally ruined, but also rendered perfectly incapable of receiving the Gospel,” and all Christians and friends of missions, and the mission department in particular, were urged to use every opportunity to protest against the evil, and to endeavor to check it. MOROCCO, a sultanate in northern Africa. The Sultan is the religious head and absolute despotic ruler of the country. The present Sultan is Muley Hassan, born in 1831, who succeeded to the supreme power on the death of his father, in 1873. The area of the empire is estimated at 316,000 square miles. The population has been estimated by Dr. Gerard Rohlfs at 2,750,000, and by others as high as 10,000,000. More than half are Berbers, and the rest are Moors, Bedouin Arabs, Jews-who are estimated at 340,000—and negroes. The Moors are a mixed race resulting from the intermarriage of Arabs with the aboriginal Berbers. There are not more than 1,500 Christians. Fez, the largest city, has about 150,000 inhabitants. The other two political capitals are Mequinez and Morocco. The Emperor of Morocco is nominally joined in the direction of ecclesiastical affairs by the chief of the order, Muley Taieb, but north of the great Atlas mountains his word is law in religious more unrestrictedly than in political matters, while in south Morocco he can exert very little political authority, and his coadjutor is recognized as the head of the faith. The representatives of European powers do not reside at the capital, as in all other countries, nor come in contact with the Sultan's court, but have their residence at Tangier, where they deal directly with the Minister of Foreign Affairs; and all questions must be referred to the Sultan by means of couriers, and often months pass by before an answer is returned. Commerce. The imports in 1887 were valued at 32,556,000 francs, and the exports at 24,923,000 francs. Chief among the imports were cottons, of the value of 14,169,000 francs, and sugar, of the value of 4,639,000 francs, after which came raw silk, linen goods, tea, iron and steel manufactures, candles, and spices. The largest exports were pease and beans, of the value of 4,165,000 francs; wool, 4,151,000 francs: maize, 3,356,000 franes; goat skins, 2,361,000 francs; cattle, 2,104,000 francs; almonds, 1,218,000 francs. Other products that enter into the foreign trade are eggs, olive oil, gum, slippers, wax, canary seed, and dates. The tonnage entered under the various flags in 1887 was as follows: French, 214, 123; English, 190,371; Spanish, 51,863; German, 13,268; Portuguese, 8,267; Swedish and Norwegian, 1,415; Danish, 1,415; all other countries, 1,938. German trade in Morocco has gained ground in the past two or three years, and the Sultan has ordered a dozen vessels in Germany, and employed German engineers on the harbor works at Tangier. His contracts for arms have been given to Italians, and an Italian engineer and two military officers have been commissioned to establish a rifle factory at Fez. Belgians have been employed to build a railroad, while French capitalists have sought, so far in vain, for a concession to extend the Algerian railroads into Morocco. Campaign against the Kabyles.—The Sultan does not exercise effective sovereignty over more than one third of the people of the empire. The Berbers are inimical to the dynasty and filled with hatred for the other two races. Hence the necessity of a large standing army to guard the Sultan in the city where his residence is temporarily placed, and especially during his progress from one capital to another, when frequently he has to withstand the attacks of mountain tribes. In April, 1889, a sanguinary conflict between the allied tribes of Angad and Beni Hassan and the Mhaya tribe was reported, in which the latter inflicted a loss of 800 men on its adversaries. In June the Sultan left Fez at the head of a strong army on an expedition into the mountains of the north in order to punish the Arab Kabyles, who had rebelled against his authority, and refused to pay tribute. He proceeded from the town of Tazza to Gayatsa in the Kabyle country, and continued his journey through the mountain Kabyles to Tetouan, reducing the inhabitants of Beni Zeroual, and afterward those of Kmas, to subjection after an exterminating campaign. While the harem was installed in the palace at Tetouan and munitions were being accumulated there for the purpose of making it a strong fortress, the Kabyles came from the interior and devastated all the fields of grain and gardens up to the environs of the town. On Sept. 4 Muley Hassan made his entry into the place. The mountain tribes made no such general resistance to the financial requisitions of the Sultan as they have in times past, being impressed with the strength of the army that accompanied him and the unusually large supply of ammunition with which the troops were provided. Most of the rebel tribes made their submission at his approach, with many protestations of loyalty. Wherever they attempted to resist he followed the custom of the country, subduing the rebels with terrible carnage, striking off the heads of a certain number, and sending others in chains to the prisons of Fez and Morocco. Difficulties with England.-The Northwest Africa Company took possession of an island at Cape Juby, south of Sous, being upheld by the British Government in spite of the Sultan's protest that the island was a part of his dominions. The Sultan said the English should not trade, and prevented all trade in that quarter. In March, 1888, Moors destroyed the factory, driving out the Englishmen, one of whom, named Morris, was killed. For this the British Government demanded an indemnity of $250,000 with $25,000 additional to be paid to the wife of the trader who lost his life in defending the station. The smaller sum the Sultan agreed to pay, but not the other claim till after fuller consideration. Juby, he said, is in his possessions, but is so far removed from his capitals that he can not hold himself responsible for the lives of Europeans there. Much friction was caused by the action of the English in laying a cable from Gibraltar to Tangier against the wishes of the Sultan, who in withholding his permission was supported by the diplomatic representatives of other powers. The cable was laid secretly, and connected with the shore. The Sultan demanded that it should be removed, but this the English minister, Sir William Kirby-Smith, refused. The Sultan even offered to pay a large sum if the company would take up the wire, and finally ordered that it should be cut. His officers severed the cable as they supposed, but it was only a false one. Early in 1889 the cable either broke or was found and cut by the Moors. The 'company applied for permission to complete the cable. The Sultan replied that he would grant it as soon as he had the concurrence of all the European representatives at Tangier. The British minister, who had slyly circumvented the Moorish authorities was sick at the time that permission to repair the cable was openly asked, and also to extend it to Mogador. The difficulties between the governments had led to various indignities being put upon Englishmen by the officials, and a few weeks before English travelers had been assaulted by the mob in the streets of Rabat. In order to restore British prestige, settle finally the cable question, and influence the decision of the Cape Juby matter, the English Government decided to try the proved remedy of intimidation. About April 1, five large men-of-war suddenly entered the harbor of Tangier, and the menace had the desired effect, for the cable was openly laid without any opposition along the beach. The indemnity of $25,000 for the killing of Mr. Morris was paid on April 10. Quarrel with Spain.-The Spanish Annexationists were dissatisfied with the results of the mission sent by the Sultan to Pope Leo XIII, which the Moors were led to believe would bring about the conference that had failed to meet because France and England could not agree on the programme. The Moorish embassy to Germany and its brilliant reception, the rumored project of a German coaling-station on the coast of Morocco, the Italian contracts, the French and Belgian railroad enterprises, the English cable, and the spread of English influence in the interior of Morocco, were all considered as diplomatic advantages gained over Spain, and laid to the charge of Diosdado, the Spanish minister at Tangier, who was recalled by the Government as soon as he was attacked in the Cortes, and in his place Figuera was appointed. A subsidized line of steamers between Cadiz and Tangier was expected to promote Spanish commerce and influence; yet there were no appreciable results, while the trade with England, Germany, and France grew steadily. France succeeded in having the obnoxious governor of the oasis of Figuig removed and a man devoted to her interests appointed. When the Sultan, in deference to the naval demonstration at Tangier, desisted from his opposition to the laying of an English cable to Mogador, the new Spanish minister intimated the intention of his Government to take possession of the small territory of Santa Cruz de Mar Pequeña, south of Mogador, near the mouth of the Yfnu river, the Spanish claim to which was conceded by the Sultan in 1883. On Sept. 5, the people of Zamozet, on the Riff coast, pillaged a Spanish coasting vessel in the Bay of Alhucemas, and carried off the captain, a passenger, and four sailors as hostages, to avert punishment. A gunboat from Alhucemas went to the Riff coast, and recovered the vessel. Some men who landed under a flag of truce were fired on by the natives. The vessel that was plundered was said to be a smuggler conveying arms and amunition to a rival tribe. Nevertheless, the Spanish Government demanded an indemnity, as well as the liberation of the captive Spaniards. The Moorish Minister of Foreign Affairs suggested an inquiry as to whether the vessel was attempting to land contraband. The owners asserted that she was bound for Tangier to get a cargo of cattle, poultry, and eggs and return to Malaga, but was carried out of her course by the current. The incident seemed to the Africanists in Spain to furnish an opportunity for establishing Spanish predominance in Morocco, and therefore a great popular agitation and commotion were aroused. The Government, for two days after the affair became known through private channels, took no measures except to call for the release of the captives and institute inquiries, being aware of the questionable character of the plundered vessel, and was only driven to take an aggressive tone by the agitation of the annexationists. The attack on the Spanish landing-party afforded a colorable pretext for energetic action aside from the original cause of the difficulty. A Spanish squadron was ordered to Tangier, where it was anchored when the Sultan made his public entry into the city, and took part in the salutes and honors paid to the Moorish ruler. When the news came that the Riffians had fired on a boat's crew from the gunboat "Cocodril" 20,000 men were ordered to the seaboard, and 20,000 more were called to arms. The Sultan sent commissioners to the Riff coast, on receiving the first communication from the Spanish minister, to demand the release of the imprisoned sailors and threaten with death any person guilty of killing Christians. The captors surrendered the Spaniards. Urged by the English Government, the Sultan expressed a willingness to accede to all reasonable demands. MUSIC, PROGRESS OF, IN 1889. In looking back upon the achievements in dramatic music during the past year, we observe a preponderance of German and Austrian composers. Although dozens of newly created operas are heralded from France every year, we do not hear of their performance; only one opera of the serious style was brought out in Paris in 1889. In comic opera, the French composers proved more active, and Italy did not fail to do its share, while England also showed greater productiveness than usual. The great "boom" in operettas seems to be abating; although, especially in Germany, the number of novelties is still more than is desirable, the majority are evidently short-lived. France, which once supplied the world with pro ductions of this kind, is outdone by Italy, where, of late years, the operetta has been cultivated to a greater extent than the opera seria. Of ballets and spectacular pieces there was a profusion in all the principal countries of Europe. But we will pass the events themselves in review, giving precedence to Germany, where New Year's Day was celebrated with the patriotic work of a native composer. " poser: an important part is assigned to the chorus, the single persons and situations are well characterized, and the gradation of effect is well-nigh perfect. Philippine Welser," in five acts, by Carl Pohl, libretto after the drama of Oscar von Redwitz (Stettin, Stadttheater, in March), conducted by the composer. Die Königsbraut," in three acts, by Robert Fuchs, libretto by J. Schnitzer (Vienna. Hofoperntheater, March 27). The gloomy Elfrida legend here appears for the first time treated from a cheerful point of view; King Edgar does not wed the fair Elfrida, but her sister, and Ethelnold, the king's friend, is not murdered by him, but remains in possession of his wife coveted by the king. The libretto betokens more than usual dramatic skill and feeling for scenic effects, but unfortunately often suggests the operetta, which element curiously enough is increased rather than lessened by the character of the music, otherwise highly commendable. "Die letzten Tage von Thule," romantic opera in four acts, by Georg Rauchenecker (Elberfeld, Stadttheater, April 2). “Loreley," romantic opera in four acts, by Emil Naumann, libretto by Otto Roquette (Berlin, Königliches, Opernhaus, April 9). "Eddystone," in three acts, by Adolf Wallnöfer, who also wrote the libretto, after a novel of Wilhelm Jensen (Prague, Deutsches Landestheater, Sept. 27); the composer, who is the heroic tenor at that theatre, sang the principal part (Lord Edgar), and was the recipient of numerous honors, in his triple capacity. The music is conceived entirely in the spirit of Wagner, the main part being assigned throughout to the orchestra, which seems the more strange, as the composer is a singer. "Der Vasall von Szigeth," in four acts, by Antonio Smareglia, libretto by Luigi Illica and F. Pozza, translated into German by Max Kalbeck (Vienna, Hofoperntheater, Oct. 4), won consider Operas." Des grossen König's Rekrut," patriotic opera in three acts, by M. Clarus, libretto by W. Meves (Brunswick, Hoftheater, Jan. 1); the subject is an episode during the Seven Years' War, treated musically in the style of operetta rather than grand opera. The several effective military scenes with which the work is interspersed met with particular favor. "Der Sanct Katharinentag," romantic opera in three acts, by Wilhelm Freudenberg, who also wrote the libretto (Augsburg, Stadttheater, Jan. 4), conducted by the composer, who scored a decided success. Der alte Dessauer, patriotic opera in three acts, by Otto Neitzel, libretto by Paul Kurth (Wiesbaden, Hoftheater, Jan. 27). "Jakobyn (The Jacobin), Czechish romantic opera in three acts, by Anton Dvorák, libretto by Mme. Marie Cervinka-Rieger (Prague, National Theatre, Feb. 12); the work, which was received with much enthusiasm, lacks uniformity of style, inclining partly to comic and partly to grand opera, but is invested with much dramatic fire, melodious invention, and ingenious treatment in general. "Reinhardt von Ufenau," romantic opera in four acts, by Franz Curti (Zürich, Feb. 18, Altenburg, Hoftheater, April 7). The performance at Zürich was attended by a large audience, whose sympathy increased with every act; what characterizes the composition in the first place, is the excellent instrumentation with its manifold and surprising effects; Wagner has been the composer's model, who, nevertheless, asserts remarkable success, especially with the first two acts, able independence. The vocal parts are skillfully treated, and the melodies are the outcome of a healthy natural sentiment. Several of the choruses are strikingly original, and the conclusions of the first, second, and fourth acts most impressive. Fernando," by Wilhelm Floderer (Brünn, Stadttheater, February). Without pretension, the work is distinguished for excellent orchestration, and contains many pleasing original melodies: it met with the kindliest reception. "Der Meisterdieb," Eine deutsche Mär in drei Theilen, by Eugen Lindner, libretto, freely after Arthur Fitger's poem, by Gustav Kastropp and the composer (Weimar, Hoftheater, March 3), conducted by the composer (Dresden, Hoftheater, Sept. 18), met in both places with a thoroughly favorable reception. Manuel Venegas," in a prelude and three acts, by Richard Heuberger, libretto by Josef V. Widmann, after a novel of Juan Ruiz de Alarcon (died 1639) (Leipsic, Neues Stadttheater, March 27). Although the composer was the recipient of many honors, the opera is severely discussed by the Leipsic critic Bernsdorf, who reproaches the composer with the tendency to" out-Wagnerize" the master of Bayreuth. Die Bergknappen," by Armin Früh, libretto by Theodor Körner (Nordhausen, in March), conducted by the composer. The opportunities latent in the poet's text have been skillfully embraced by the com 66 while the last act proved less effective. The 66 66 66 66 Jules Massenet, libretto by Alfred Blau and Louis de Gramont (Paris, Opéra-Comique, May 16), met with the warmest reception, which neither libretto nor music fully deserved; the love scenes in the third and fourth act, and all the lyric moments of the opera, are the best, while in the dramatic scenes the composer's inventive power does not prove adequate to his task. Brinio," lyric opera, by Van Millingen, libretto by Van Lochen (Amsterdam, Park-Theater, in August). "Norma," by J. Rijken (Rotterdam, end of November). "Marcos Botzaris," Greek opera, by Carreris (Marseilles, Théâtre du Gymnase, October), by a Greek opera_troupe. Aben-Hamet," by Théodore Dubois (Paris, at Mme. Calzado's, Dec. 11), accompanied on the pianoforte by the composer. "Flavia," by Sauvinet (Lisbon, Teatro Doña Maria, in August). Edgar," in four acts, by Giacomo Puccini, libretto by Ferdinando Fontana (Milan, Scala, April 22). "Agnese Visconti,” by Antonio Nani (Malta, Royal Opera House, in Spring). Beida," by Angelo Bottagisio, libretto by Ugo Capetti (Milan, Teatro Manzoni, in September). Clara,' by Panizza-Pugnalini (Milan, Teatro Manzoni, in September). William Ratcliffe," by Emilio Pizzi, libretto by Zanardini (Bologna, Teatro Communale, Oct. 31), scored a great success; the composer was called forth twenty-five times. "I Corsari," by Giuseppe Guardione (Florence, Teatro Umberto). "Adriana Lecouvreur," by Ettore Perosio (Genoa, Teatro Paganini, Nov. 13). Mariska," by Giacomo Dell' Orefice (Turin, Teatro Carignano, in November). "La Battaglia di Dame," by Giovanni Ferrua, libretto by Maurizio Toussaicat (Turin, Circolo Artistico, Dec. 6). "Gorjuscha," Russian opera in four acts, by Anton Rubinstein (St. Petersburg, Marien-Theater, Dec. 3), on the occasion of the composer's jubilee. "The Rose of Windsor," by Walter Parke and Bond Matthews (Accrington, England, in August). "The Castle of Como," by George Cockle, libretto by Searle, after Bulwer's "Lady of Lyons" (Liverpool, October; London, Opera Comique, November). Belphe gor," romantic opera in three acts, by Alfred Christensen (South Shields, Theatre Royal, Oct. 27). "Theodora," by Willie W. Furst (San Francisco). "Lo Schiavo," by Carlos Gomez, libretto by Alfred Tannay and Rodolfo Tarravacini (Rio de Janeiro, Teatro Imperial, Sept. 28). Comic Operas.-"Eros," in one act, by Frédéric Le Rey, libretto by Goujon and Daniel (Rouen, Théâtre des Arts, in January). "Nadia," in one act, by Jules Bordier, libretto by Paul Milliet (Brussels, Théâtre de la Monnaie, Jan. 18). "La Cigale madrilène," in two acts, by Joanni Perronet, libretto by Léon Vernoux (Paris, Opéra-Comique, Feb. 15). Le Seigneur Pandolfo," by Gustave Canobi, libretto by D'Hervilly (Rennes, Grand Théâtre, in February). Rencontre imprévue," in one act, by Richard Mandl, libretto by A. Larsonneur (Rouen, Théâtre des Arts, in March). "La Jeunesse d'Haydn," by Mlle. C. Carissan (Paris, at Duprez's house, April 3). "Jenny," by Clément Broutin (Roubaix, in April). Joël," by Gilbert des Roches (Baroness Legoux) (Nice, April 11). "La Sérénade," in two acts, by André Martinet, libretto by Charles Fourcaulx (Geneva, Cursaal-Theater, in summer). "Pierrot puni," in one act, by Henri Cieutat, VOL. XXIX.-37 A 66 libretto by Sémiane and Gérès (Geneva, CursaalTheater, in August). "Le Contrat," by J. J. G. Pénavaire, libretto by Jules Ruelle (Boulognesur-Mer, in September). "Un Modèle," by Léon Schlesinger, libretto by André Thomas and Lerouge (Blankenberghe, Belgium, in September). "Deïdamie," by Henri Maréchal, libretto by Edouard Noël (Rouen, Théâtre-Lyrique-Français). Cornarino," by Léon Rosellen, libretto by Felix Cohen (Paris, Bouffes-Parisiens). “La Meunière de Marly," by Maurice Lefèvre (Brussels, Théâtre de la Monnaie, Dec. 14). "Gli Amanti di Teruel," by Tomas Breton (Madrid, Teatro Real, in February). "Occhi azzurrï," in one act, by Cavalieri, libretto by Erminia Marzochi (Fossano, Piedmont, in March). Leonina," by Guiseppe Verdi (not the famous Verdi) (Cremona, Teatro Concordia, in April). "Le donne curiose," in three acts, by Emilio Usiglio, libretto after Goldoni's well-known comedy (Rome, Teatro Costanzi, in April), met with the most flattering reception; the opera is commended as one of the happiest contemporaneous efforts in this field. "L'Oste gabbato," burlesque opera, by Cesare Augusto Furlanetto (Venice, Istituto Marco Foscarini, in April). "Ettore Fieramosca," by Lucidi (Rome, Teatro Costanzi, September). "Cavalleria rusticana," by Gastaldon, libretto by Bartocci-Fontana (Rome, Teatro Nazionale, in September). "Nama," intermezzo by Alfredo Donizetti, libretto by Bignotti (Milan, Teatro Filodramatico, in October or November). "Il piccolo Haydn," by Alfredo Soffredini, who also wrote the libretto (Faenza, Teatro Communale, in November). "Nerina," in three acts, by Carlo Chiappani (Trent, Nov. 16). "Lully," lyriccomic opera in four acts, by Carl Hofmann, libretto by Josef Weyl (Stettin, Stadttheater, March 5). "Margot's Entführung," by J. C. Metzger, libretto by A. Schirmer (Troppau, in March). Eulenspiegel," a musical comedy in two acts, by Cyrill Kistler (Würzburg, Stadttheater, April 15). "Iduna," in three acts, by J. P. Gotthard, libretto by Bohrmann-Riegen (Gotha, Hoftheater, April 17; Coburg, May 12). 66 Die Brautfahrt," romantic-comic opera, by Hermann Winter (Salzburg, Stadttheater, in April). "Die Braut von Frascati," in four acts, by Adolf Arenson, libretto after the Italian, by J. Montell (Hamburg, Stadttheater, Oct. 25). "Die Brautschau," by Oscar Fuchs, libretto by Albert Kasten (Neustrelitz, Hoftheater, in October). Margitta," in three acts, by Erik Meyer-Helmund, libretto by R. Bunge and J. Freund (Magdeburg, Stadttheater, Dec. 5). "In Florenz," Swedish opera buffa, by Mme. Helene Munktell (Stockholm, Royal Theatre, in July or August). "Paul Jones," in three acts, by Robert Planquette (London, Prince of Wales Theatre, Jan. 12); the title rôle, written originally for a baritone, was created by an American singer, Miss Agnes Huntington, whose rich contralto voice seemed to meet all the requirements. Being at the same time an excellent actress, she made a most favorable impression, and is warmly praised by the critics. "Delia," by Procida Bucalossi (Bristol, England, Princess Theatre, in March). "Pickwick," by Edward Solomon, libretto after Dickens (London, Comedy Theatre, in March). "Doris," in three acts, by Alfred Cellier, libretto by H. P. Stephenson (London, Lyric Theatre, 578 66 April 20). "Mignonette," by Henry Parker 66 66 Operettas." Die Traumprinzessin," by H. Maria Wallner, libretto by F. Heidrich and V. Horak (Baden, near Vienna, Stadttheater, Jan. 5). Der Schlosserkönig," by Eduard Kremser, libretto by Ludwig Held and Schier (Vienna, Theater an der Wien, Jan. 12). "Die indische Wittwe," by Gustav Geiringer, libretto by R Genée and F. "Der Zell (Vienna, Theater an der Wein, Feb. 9). Sklavenhändler," by Franz Soucoup, libretto by Paul von Schönthan and H. Bohrmann (HamCapitän burg, Carl-Schultze Theater, Feb. 9). Fracassa," by Rudolf Dellinger, libretto by Zell and Genée (Hamburg, Carl-Schultze Theater, March 2; Cassel, Hoftheater, June 13; Nuremberg, Sommer Theater: Rotterdam, Deutsche Oper, Sept. 1; Munich, Sept. 14; Vienna Sept. 21), everywhere conducted by the composer. Steffen-Langer," by Max Gabriel, libretto by Oscar Walther, after Birch-Pfeiffer's play of the same name (Magdeburg, Wilhelm-Theater, in March). "Der schöne Kaspar," by Joseph Bayer, libretto by Zell (Munich, Gärtnerplatz-Theater, April 6). Der Fuchsmajor," by Sigmund Bachrich, libretto by Otto Weiss and F. Mamroth "Der Lie(Prague, Deutsches Theater, April 14). besbrunnen," romantic-comic operetta in three acts, by Paul Mestrozi, libretto after Scribe (Vienna, Fürst-Theater, April 21,). "Der Amerikaner," by Gothov-Grünecke, libretto by Gustav von Moser (Görlitz, Wilhelm-Theater, June 19). "Der Adjutant," by Carl Weinberger, libretto by A. Ruprecht (Baden, near Vienna, Arena, July 13). Die Spiritisten," by Julius Einödshofer, libretto by E. Weissberger (Innsbruck, Stadttheater, in July). "Der Herr Abbé," in two acts, by Alfred Zamara, libretto by Victor Léon and Josef Bracke (Munich, GärtnerplatzDer Abenteurer," by Theater, August 10). Karl Stix, libretto by Adolf Philipp and Emil Sondermann (Hamburg, Carl-Schultze Theater, Sept. 14). "Das Narrentestament," by Ladislaus Unger, libretto by Ludwig Pick and M. Simon (Totis, Hungary, Count Eszterházy's private theater, Oct. 10). "Der Polengraf," by Louis Roth, libretto by Richard Genée and E. Fritzsche 66 66 66 66 Das (Berlin, Friedrich-Wilhelmstädtisches Theater, 66 |