Her "Geliebter, komm" is another piece of magic. The very essence of sensuality is in it, and never was sin made to seem so lovely. One great theme follows another. "Hin zu den kalten Menschen flieh'" is almost Schubertian in its spontaneity. The music never flags; there are scarcely any of the old formulas not even, for example, to express Venus's anger; the fund of melody seems inexhaustible.