Massent's new opera, the Italian version of which was played for the first time in England at Covent Garden on Saturday night, may be judged from two very different points of view, and the amount of merit granted to it will vary accordingly. If we look in an opera for the emanation of highest dramatic pathos combined with striking originality of melodic invention, and in connection with it of formal development, we most certainly shall be disappointed in Massenet's work. If, on the other hand, we are satisfied with flowing, though not very deep or very new, melodies expressive of the sentiments common to heroes and heroines of the lyrical stage, with admirable musical workmanship aided by gorgeous scenery—with a work, in short, after the model of the grand opé as established by Meyerbeer and Halévy, the “Roi de Lahore” will command our approval and in parts our admiration.

But before speaking in detail of the music, it will be necessary to give a brief outline of the story which it serves to illustrate. Naïr, the heroine, a priestess of Indra, has inspired an unholy passion in Scindia, the all-powerful Minister of Alim, king of Lahore, who claims her hand from Timur, the high priest.