The Count of Monte Cristo

Albert’s Evening Plans

Albert’s Evening Plans After falling asleep at dawn, Franz awakens to find Albert has arranged their evening, securing a box at the Teatro Argentina while Franz writes letters. Albert returns triumphant, having delivered his introductions and received numerous invitations, declaring he has seen all of Rome’s remarkable sights in a single day.

Albert’s Italian Failures

Albert’s Italian Failures Albert confesses his frustration at being ignored by Italian women despite his elegant attire and Parisian charm. Despite his wealth, title, and good looks, he has traversed Italy without a single romantic adventure, and he makes light of his disappointments while nursing wounded self-love.

Carnival Anticipation

Carnival Anticipation Albert pins his hopes on the approaching Carnival in Rome, where even the most reserved are said to abandon their usual restraint. He has strategically chosen a conspicuous box at the theatre and dressed in his finest attire, hoping to attract the attention of a fair Roman who might invite him to share in the festivities.

The Countess G——

The Countess G—— During the performance of Parisina, the Countess G—— enters a previously empty box. Franz recognizes her as a Venetian acquaintance from Paris, and the two exchange cordial greetings. Albert, struck by her beauty, asks Franz for an introduction, learning that the countess is renowned for her wit and that he nearly met her at Madame Villefort’s ball in Paris.

Opera Opinions

Opera Opinions While waiting for the curtain to fall, Albert criticizes the Italian performers—finding Coselli inelegant, La Specchia unimpressive compared to Malibran and Sontag, and Moriani’s appearance ill-suited to his voice. Franz gently chides his friend for being too difficult to please as Albert grows increasingly restless.

Meeting the Countess

Meeting the Countess With the countess’s gracious permission, Franz leads Albert to her box at the end of the first act. Franz presents Albert in glowing terms, and the countess welcomes them warmly, offering Albert the seat beside her while Franz takes a seat behind. Albert soon engages the countess in animated Parisian conversation.

The Enigmatic Greek

The Enigmatic Greek While Albert chats with the countess, Franz uses the opera glass to observe a strikingly beautiful woman in Greek costume seated in an opposite box, accompanied by a shadowy male figure whose features cannot be discerned. The countess identifies her as a regular at the theatre since the season’s start, always attended by either the same companion or a black servant, and calls her perfectly lovely—her very image of Medora.

The Ballet Poliska

The Ballet Poliska The curtain rises on the ballet Poliska, an exemplary Italian production staged by Henri with remarkable grace and coordination. Though the performance is worthy of attention, Franz remains captivated by the beautiful Greek, who watches the ballet with childlike delight while her companion sits utterly motionless and indifferent throughout the loud orchestral clamor.

CHAPITRE 34. The Colosseum

After the ballet concludes and the second act of Parisina begins, Franz finally recognizes the pale, mysterious figure in the opposite box as the Count of Monte Cristo, the strange inhabitant he had encountered the previous evening in the Colosseum ruins. Alarmed by the count’s ghastly appearance and unsettling manner, the countess urges Franz to escort her home, where she confesses her superstitious fears and persuades him to abandon his pursuit of the mysterious stranger for the night. Upon returning to the hotel, Franz finds Albert arranging a fanciful disguise as Neapolitan reapers with a gilded ox-cart for the carnival, and their host Pastrini soon interrupts with the startling news that the Count of Monte Cristo himself, their neighbor on the same floor, has offered them seats in his carriage and places at the Palazzo Rospoli windows, followed by a liveried servant delivering the count’s formal calling cards.

Ballet Concludes to Enthusiastic Applause

The ballet reaches its conclusion and the curtain falls amid the loud, unanimous plaudits of an enthusiastic and delighted audience. The performance has clearly captivated the spectators in the opera house.