Act I. Room in the _Princess von Werdenberg's_ palace. Morning. The

curtain rises after an impassioned orchestral introduction which is supposed to depict _risqué_ incidents of the previous night suggested by the stage directions. These directions were not followed in the production made at the Metropolitan Opera House. Not only did their disregard show respect for the audience's sense of decency, it in no way interfered with the success of the work as a comedy set to music.

_Octavian_, a handsome youth, is taking a passionate leave of the _Princess_, whose husband, a Field Marshal, is away on military duty. _Octavian_ is loath to go, the _Princess_, equally loather to have him depart. For the _Princess_ cannot conceal from herself that in spite of _Octavian's_ present love for her, the disparity in their ages soon will cause him to look to women younger than herself for love.

There is a commotion beyond the door of the _Princess's_ suite of rooms. One of her relatives, the vulgar _Baron Ochs von Lerchenan_, wishes to see her. The servants remonstrate with him that the hour is much too early, but he forces his way in. Taking alarm, and in order to spare the _Princess_ the scandal of having him discovered with her, _Octavian_ escapes into an inner room where he disguises himself in the attire of a chambermaid, a rôle which his youthful, beardless beauty enables him to carry out to perfection.

_Von Lerchenan_ has come to inquire of the _Princess_ if, as she promised, she has sent a Knight of the Rose with an offer of his hand to _Sophie_, daughter of the wealthy, recently ennobled _Herr von Faninal_. A Knight of the Rose was chosen at that period as a suitor by proxy to bear a silver rose, as a symbol of love and fidelity, to the lady of his principal's choice. Unfortunately the _Princess's_ passion for _Octavian_ has entirely diverted her thoughts from _Lerchenan's_ commission. He, however, consoles himself by flirting with the pretty chambermaid, _Octavian_, whose assumed coyness, coupled with slyly demure advances, charms him. Before this, however, he has lost his temper, because he has been unable to engage the _Princess's_ attention amid the distractions provided by her morning levee, at which she receives various petitioners--a singer, _Valzacchi_, and _Annina_, who are Italian intriguers, three noble orphans, and others. This levee, together with the love intrigues and the looseness of manners and morals indicated by the plot, is supposed in a general way to give to the piece the tone of the rococo period in which the story is laid. The scene is a lively one.

_Lerchenan_ is appeased not only by the charms of the supposed chambermaid, who waits on the _Princess_ and her relative at breakfast, but also because he is so eager to make a rendezvous with her. _Octavian_ in his disguise understands so well how to lead _Lerchenan_ on without granting his request, that he forgets the cause of his annoyance. Moreover the _Princess_ promises that she presently will despatch a Knight of the Rose to the daughter of the wealthy _Faninal_ whose wealth, of course, is what attracts _Lerchenan_. The _Princess_ chooses _Octavian_ to be the Knight of the Rose. Later she regrets her choice. For after the handsome youth has departed on his mission, and she is left alone, she looks at herself in the glass. She is approaching middle age, and although she still is a handsome woman, her fear that she may lose _Octavian_, to some younger member of her sex, cannot be banished from her thoughts.