Valdor
himself played the various violin solos which occurred frequently
throughout the piece, and never failed to evoke a storm of rapturous
plaudits,--and many were the half-indignant glances of the audience
towards the Royal shrine of draped satin, gilding, and electric light,
wherein the King, like an idol, sat,--undemonstrative, and apparently
more bored than satisfied. There was a general feeling that he ought to
have shown,--by his personal applause in public,--a proper appreciation
of the many gifted artists playing that evening, especially in the case
of Louis Valdor, the composer of the Opera itself. But he sat inert,
only occasionally glancing at the stage, and anon carelessly turning
away from it to converse with the members of his suite.
The piece went on;--and more and more the passion of Pequita's pent-up
little soul communicated itself to the other performers,--till they
found themselves almost unconsciously obeying her 'lead.' At last came
the grand final act,--where, in accordance with the progress of the
story, the bold band of 'New Christians' are fought back from the gates
of the Vatican by the Papal Guard; and the Roman populace, roused to
enthusiasm, gather round their defeated ranks to defend and to aid them
with sympathy and support in their combat,--breaking forth all together
at last in the triumphant 'Song of Freedom.
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