In November 1878, the Daily American published a short article to alert its readers in Nashville to the newest opera to hit American shores from the theaters of Europe.

It is the story of a gipsey [sic] strumpet-not to mince matters-who infatuates a young Spaniard, seduced him from his modest and lovely betrothed, and then deserts him for a muscular bull-fighter, and after he has returned to and been forgiven by his Michaela, ensnares him again, and is very naturally murdered by the Don on the indications of a second desertion. That is the whole story.1