He reproaches his brother for his betrayal. Mirko, moved by his words, agrees to follow him, after a last kiss to the still sleeping Yamina. As Aslar could have foreseen, this kiss wakes Yamina up. She has no trouble getting hold of the young Montenegrin, which makes Aslar very angry. During the discussion, the young woman treacherously hits the man whose arrival has thwarted her plans. Fortunately, the blow was badly struck, and when the 'mountain men' come running to Mirko's desperate cries, all danger seems to have passed. As the stage empties, Yamina swears revenge. Act IV The first scene of Act IV takes place in a garden on the edge of Yamina's home on the Turkish border, the second shows the scene after the fight. Mirko, more in love than ever, is in the power of the beautiful bewitchress whose kiss burns him. Female singers and almaeums delightfully frame the scene. The situation from the previous act is repeated. Aslar, who has once again felt the need to stir up Mirko, arrives as a spoilsport. Only this time he avoids being hit and, seeing that his pleas are in vain, he kills his brother-in-arms to save his soul and then turns the weapon against himself. Criticism The reception was lukewarm, even a failure, due in particular to the weakness of the score and the libretto. Claude Debussy wrote about it in his book Monsieur Croche et autres écrits: "An opera: La Montagne noire, had no success; this is of no importance and cannot make us forget what we owe him in terms of charming and robust music ". Although La Montagne noire was a failure, it does not make us forget the success of Augusta Holmès' symphonies (Roland furieux and Lutèce) or her various symphonic poems (Hymne à Apollon, Les Argonautes, Irlande, Andromède and Pologne). Les interprètes ont été loués, notamment Lucienne Bréval, considérée comme chanteuse et comédienne inégalable, aux irrésistibles enchantements dans le rôle de Yamina, et Meyrianne Héglon, véritable tragédienne lyrique. Albert Alvarez et Maurice Renaud sont aussi félicités. Several magazines reported on it, including Le Monde artistique, which gave it an extensive review. Quoting Camille Saint-Saëns about the composer's Argonautes, which he himself had enjoyed, Fernand Le Borne had mixed feelings about Augusta Holmès' opera. He described the work as a collection of 'heroic sentiments contrasting with voluptuous scenes', but noted that there was a