UPON his arrival in Vienna on June 4, Mozart at once set to work upon a quartet for Frederick William II.; the Quartet in D major (575 K.) was completed in the same month, and in return for it, according to the Berlin Veteran, he received a valuable gold snuff-box with 100 friedrichsdor, and a complimentary letter. 1 But this did not materially affect his embarrassed circumstances; the precarious state of his wife's health kept him in a state of perpetual anxiety, and the expenses it involved brought him into serious difficulties: "I am most unhappy!" he wrote on July 17 to his friend Puchberg. The confident expectation of a permanent improvement in his outward position, which he expressed in his letters to this constant friend, were grounded, as it seems, upon the overtures which had been made to him in Berlin; he had informed the Emperor of them, and thought himself entitled to look for a compensation for his refusal. But circumstances were not then favourable, and Mozart was not the man to push a claim of the kind. The effect of his depression is clearly visible in the want of musical productivity during this period. His own catalogue contains only the following compositions belonging to this year:—
1789. June. A quartet for his majesty the King of Prussia, in D major
July. Sonata for pianoforte alone, D major (576 K.). Rondo in my opera of "Figaro" for Madame Ferraresi del Bene, "Al desio (577 K.).
August. Aria in the opera "I Due Baroni," for Mdlle. Louise Villeneuve, "Alma grande e nobil core" (578 K.).
September 17. Aria in the opera "Der Barbier von Seviglien," for Madame Hofer, "Schon lachtder holde Frühling" (580 K.). (575 K.).
September 29. Quintet for clarinet, two violins, viola, and violoncello, in A major (581 K.); first played in public at the concert for the funds of the Pension, December 22, 1789. 2
October. Aria in the opera "ü Burbero," for Mdlle. Villeneuve, "Chi sà, chi sà quai sia" (582 K.).
Ditto, "Vado! ma dove?" (583 K.).
December, An air which was intended for Benucci in the opera "Cosi fan Tutte," "Rivolgete à me lo sguardo" (584 K.). Twelve minuets (585 K.) and twelve waltzes (586 K.).
The prospect which was known to have been opened to him in Berlin may have had some effect in causing "Figaro" to be again placed on the stage in August. At the request of the prima donna, Madame Adriana Ferraresi del Bene, who had made her first appearance on October 13, 1788, Mozart wrote the grand air (577 K.). 3 For Louise Villeneuve he composed, during the following month, three airs for insertion in different operas (578, 582, 583, K.), perhaps with some view to his own new opera, in which Mdlle. Villeneuve was to appear. The approbation with which the revival of "Figaro" was received 4 no doubt suggested to the Emperor to commission Mozart to write a new opera. "It was not in his power," says Niemetschek (p. 43), "to decline the commission, and the libretto was provided him without consultation of his wishes." 5 It was "Cosi fan Tutte, osia la Scuola degli Amanti," by Da Ponte. 6 Mozart was busily engaged on it in December, 1789; and in January, 1790, it is entered in his catalogue as completed; it was first performed on January 26, with the following cast: 7 —
It appears to have been successful, 8 although it did not remain long on the repertory. 9 Unfortunately, we have no detailed information as to the preparation and performance of this opera. Da Ponte's achievement as the writer of an original libretto 10 serves to show more clearly than ever how much he had hitherto owed to his predecessors. Neither invention nor characterisation are anywhere visible, only a certain amount of dexterity in the handling of his subject.
The plot in its main points is as follows:—
Two young Neapolitan 11 officers—Ferrando (tenor) and Guillelmo (bass)—who are betrothed to the sisters Dorabella and Fiordiligi, are discovered seated in a café in lively dispute with their friend Don Alfonso, an old cynic, who maintains that their two fiancées would fail under any trial of their constancy. Upon their challenge to make good his words at the point of the sword he retorts with the old proverb, that woman's faith is like the phoenix—never seen. 12 Each of the lovers COSÌ FAN TUTTE. declares his bride to be the phoenix. At last they agree to a wager. The two lovers promise on their word as officers to do nothing during the next four-and-twenty hours but what they are directed by Don Alfonso, who thereupon undertakes within that time to prove the fickleness of the two maidens. The young men, confident beforehand of victory, determine on celebrating it by a grand banquet in honour of their mistresses.
Fiordiligi and Dorabella are discovered in their garden by the seashore, awaiting the arrival of their lovers and lovingly contemplating their portraits; each declares her lover to be the handsomest and best. Alfonso entering, brings the direful news that Ferrando and Guillelmo have been ordered to proceed at once to the field with their regiment. The lovers enter with melancholy mien to bid adieu, and the two ladies give vent to heartrending expressions of grief and love. The lovers express satisfaction thereat to Don Alfonso, who bids them wait for the end. A military march with a lively chorus is heard in the distance; 13 the lovers yield themselves to a last fond embrace with sobs and tears, at which Don Alfonso can hardly keep his countenance. The march again summons the officers to depart, and the two ladies join with Don Alfonso in waving their adieux to the retreating bark.
Despina, the waiting-maid of the two ladies, waits for them impatiently with their chocolate. 14 She is amazed at their entrance in a condition of violent sorrow, which is expressed by Dorabella more especially in high tragic style. Her astonishment increases on hearing the cause, and she advises her mistresses to take the matter easily, and do all they can to divert their thoughts. The serious reproof with which this advice is met is answered by her in a tirade on the fickleness of men in general, and soldiers in particular, whom she declares to deserve no better treatment.
Don Alfonso, in pursuance of his design, now seeks to gain over Despina. A few gold pieces and the prospect of a rich reward speedily gain her promise to admit two friends whom he declares to be madly in love with her mistresses. He at once introduces Ferrando and Guillelmo in the garb of wealthy Albanians, and so disguised by great beards as to be unrecognisable by Despina, who regards them as veritable "antidoto d' amor." While they are ingratiating themselves with the waiting-maid the two ladies enter. Their consternation at the presence of strangers turns to violent indignation when the pretended Albanians proceed without preface to fall on their knees and make declarations of LIBRETTO. love. Don Alfonso, entering to prevent actual scandal, feigns to recognise old friends in the Albanians, and endeavours to act as mediator. The strangers continue their bold suit, but Fiordiligi proudly declares her faith as firm as a rock, and is immovable. The consequence is that upon Guillelmo renewing his entreaties the two ladies decline to hear him out, and make their exit. No sooner are they gone than the two break into loud laughter, which Don Alfonso with difficulty induces them to moderate. The first attack, which was to carry all by storm, has failed, and Don Alfonso retires to concoct a new plot with Despina.
Fiordiligi and Dorabella are again discovered in the garden lamenting bygone happy hours, when the two Albanians rush in. They declare their resolution to take poison, spite of Don Alfonso's earnest dissuasions. Before the eyes of the cruel fair ones they swallow the contents of two vials, and sink in convulsions upon a bank of turf. The two horrified ladies call for Despina, who hurries off with Don Alfonso in search of a doctor, enjoining the ladies to support the sufferers during their absence. This, however, they dare not do, but contemplate the men from a distance in great agitation, which causes intense amusement to the disguised lovers. They gradually come nearer, and begin to express an interest which turns the amusement into disquiet. Don Alfonso returns with Despina, disguised as a doctor, a charlatan of the latest fashion, à la Mesmer, who promises to work miracles by means of magnetism. The terrified maidens are forced to submit to his behests, and to hold the heads of the sufferers, while he magnetises them back to life. Finding themselves in the arms of the fair ones, they begin to rave ecstatically; the ladies, regarding this as the commencement of the cure, allow it to continue, though not without uneasiness, until the patients demand a kiss from them. This rouses the pride of the ladies, and they break into a rage so violent in its demonstrations that the others begin to be doubtful of their sincerity; the first finale closes amid general confusion.
At the beginning of the second act, Despina seeks to reason her ladies out of their exaggerated ideas of constancy and their dread of a love-adventure such as offers itself; she places before them the image of a maiden who treats men lightly for her amusement, and remarks with satisfaction that her words have made some impression. In fact, when the sisters are left alone, Dorabella first declares her inclination to hearken to Guillelmo's suit, and Fiordiligi pronounces herself ready to put the new ideas into practice with Ferrando. In this favourable mood Don Alfonso invites them to a garden-party, where the lovers receive them with a serenade. They now show themselves as bashful and modest as they were formerly urgent and bold; Don Alfonso has to speak for them, Despina answers for the ladies, and reconciliation is sealed by a pressure of the hand. After some general conversation Ferrando and Fiordiligi go off together. Guillelmo expresses himself COSÌ FAN TUTTE. more tenderly to Dorabella, and offers her a valuable gold heart as a gift; she takes it without more ado, declares that she cannot offer him her heart in exchange, since he already possesses it, allows him to loosen Ferrando's portrait from her bosom, and gives way to the tenderest endearments. Ferrando returns with Fiordiligi, who rejects him with apparent severity, but lets it be felt that she is not altogether indifferent to his suit; he ventures upon a tender declaration of love, and, finding it still unheeded, goes out in despair. Left alone, she declares her heart to be affected, but adheres to her resolve to resist the temptation and keep faith with her lover.
Ferrando joyfully communicates Fiordiligi's steadfastness to Guillelmo, but is consternated to hear from him how easily Dorabella has been won, and has to submit to some triumph on the part of his friend. He feels all the acuter pain that his love to the faithless one is not yet stifled. Guillelmo now regards the wager as lost, but Don Alfonso demands that one more attack shall be made on Fiordiligi.
Fiordiligi reproaches her sister in unmeasured terms for her thoughtlessness, whereupon the latter with extreme frankness declares that she neither can nor will control her inclinations. Horrified at this, Fiordiligi determines upon escaping from her own weakness by donning man's attire and following her lover to the wars. She has a uniform brought in, puts on the helmet, takes the sword in her hand, when Ferrando rushes in and conjures her to slay him rather than desert him. This is too much; she cannot withstand his anguish, and sinks upon his breast overcome. It is now Guillelmo's turn to be beside himself. The two are bent upon forsaking their faithless mistresses, until Don Alfonso gradually succeeds in making them regard the affair from his own philosophical point of view: "Cosi fan tutte!" They decide therefore on espousing their brides, but not before they have punished them for their want of faith. Despina enters with the news that the two ladies have determined to wed their new lovers the same evening, and have sent her to fetch the notary. The two couples enter the gaily decorated room, and are received by Despina and Don Alfonso and the congratulatory chorus of friends and servants. Amid cheerful converse they place themselves at table. Despina enters as a notary, and reads the marriage contract. It is scarcely subscribed when the chorus and march of the first act are heard in the distance. Don Alfonso enters terrified with the news that the regiment has been suddenly recalled, and the old lovers are approaching the house. The Albanians and the notary are hastily concealed, and the ladies, in mortal fear and embarrassment, receive their lovers returning full of joy. Don Alfonso, acting as mediator, causes the notary to be discovered; but Despina declares herself, and asserts that she is returning from a masked ball. But the marriage contract falling into the hands of Guillelmo, the ladies are obliged to confess their guilt to their enraged lovers, whereupon the latter discover themselves as the Albanians, while Guillelmo returns the PERFORMANCES OF THE OPERA. portrait to Dorabella, mockingly repeating the melody of the duet. Confessions ended, Don Alfonso exhorts them to make peace, and brings the couples together; finally, they all unite in the moral:—
The opera was not again performed in Vienna in Italian until 1858, but it was produced at the Theater an der Wien in a German translation by Gieseke, in 1794, with the title of "Die Schule der Liebe"; in 1804 it was played at the Imperial Hoftheater as "Màdchentreue"; again at the Theater an der Wien in 1814, in Treitschke's adaptation, "Die Zauberprobe"; in 1819 and 1840 at the Hoftheater in the earlier translation, and in 1863 in Schneider's adaptation. In Berlin also, where it was first given on August 6, 1792, with the title "Eine machts wie die Andere," 15 it was again attempted in 1805 in the translation by Bretzner, "Weibertreue, oder die Mädchen sind von Flandem" (Leipzig, 1794), 16 followed in 1820 by Herklot's adaptation "Die verfängliche Wette." Nevertheless the older adaptation was preferred for the revival of the opera in 1826 at the Königstadt theatre; 17 this gave way to one by an anonymous author in 1831, 18 which was employed for the representations of 1832 and 1835, but abandoned for L. Schneider's adaptation in 1846. 19 At Prague, Guardasoni at once placed "Cosi fan Tutte" on his repertory; and in 1808 20 it was performed there in German as "Màdchentreue," in 1823 as "Zauberprobe," 21 in 1831 in Bohemian, 22 and in 1838 in Italian by the COS! FAN TUTTE. pupils of the Conservätorium. 23 Guardasoni also introduced the opera at Leipzig, where it was several times performed in German during 1805, 24 and by the Dresden Italian opera company in 1830. 25 Curiously enough "Cosi fan Tutte" was the first opera by Mozart performed in Dresden, in 1791, and kept its place in the repertory, although in 1812 it was still the only one. 26 In Italy it took no firmer hold than the others, and was only given on single occasions at Milan in 1808 and 1814, 27 and at Turin in 1816. 28 In Paris "Cosi fan Tutte" was given by the Italian opera company at the Odéon in 1811, 1817, and 1820; 29 and in London it was first played in an English translation by Arnold in 1811, 30 and again in 1828; in 1842 it was included among the Italian operas, and received with great applause. 31
The wide-spread reputation of "Figaro" and "Don Giovanni" had prepared the public mind to receive Mozart's music to this opera (588 K.) 32 with the favour which it deserved; 33 but the libretto was universally pronounced to be one of the worst of its kind; 34 nor has the judgment of ALTERATIONS IN THE LIBRETTO. posterity reversed the verdict passed upon it. 35 Two reproaches were more especially brought forward. One was the extreme improbability that neither the lovers nor Despina in their disguises would have been recognised by the two ladies, and the other the outrage committed on the moral sense by the frivolity of the test imposed, and if possible still more by the ease with which, after the unfortunate issue of the trial, the lovers all adopt a philosophic toleration towards each other. These two blemishes, however, will scarcely account for the fact that, even where attempts have been made to remove them by adaptation, the opera has never maintained its place on the stage. 36 Unquestionably, the device of the disguise is trivial, and in itself not at all entertaining, but the number of popular comedies the main point of which consists in disguise prove that the public in this respect is not hard to please. It makes no undue call on the imagination of the spectators to proceed on this supposition, although in every drama deviations more or less important must thereby be made from reality. But the imagination refuses to accept these improbabilities unless they are made to serve as external manifestations of events and actions which seem thus to be taking their regular course. If they are made the foundation for events which are manifestly false to nature, the revulsion in the spectator's mind is extended to the improbable representation itself. Treitschke hit upon the most unfortunate device for obviating the difficulty, by turning Alfonso into a magician and Despina into a sprite, and thereby not only producing glaring inconsistencies, but completely nullifying the musical characterisation. Another attempt was made by Krebel in an adaptation called "Màdchen sind Màdchen," performed in Stuttgart in 1816, where the lovers return home after a lengthened absence and COSÏ FAN TUTTE. before appearing to their brides undertake and carry out the trial of their constancy; Despina undertakes the cure in her own person, and in the last finale a real notary is brought on, whom she afterwards declares to be her lover. The progress of the plot is completely changed, almost all the songs are transformed and taken from their proper connection. Herklot's alterations in "Die verhangnissvolle Wette" went still deeper. 37 The ladies are not put to the test by their own lovers, but, with the connivance of the latter, by two of their friends, whose servant Pedrillo takes part in the intrigue as the doctor and the notary. Not to mention the injury which the musical characterisation suffers thereby, the clumsiness of the test imposed is made still more apparent, and the final reconciliation becomes more unreal and revolting.
Da Ponte has made no effort to soften the awkwardness of the situation; it is indeed very much increased by the exchange of lovers made during the trial, as if the right choice was that which is then made. G. Bernhard (Gugler), who has done honour both to words and music by his excellent edition of the opera, 38 removed this obstacle in his adaptation, "Sind sie treu?" (Stuttgart, 1858). Here each lover proves his own mistress, and the plot and its development are modified accordingly. 39 Da Ponte sacrificed the excuse this would have afforded to the two ladies—who might be supposed unconsciously drawn towards the true object of their affections—to the dramatic effect of the embarrassing position of the men on either side. Attempts to remedy this defect led to other and greater ones. 40 In an old adaptation, "Die Wette, oder Màdchen-List und -Liebe," the author CRITICISM OF THE LIBRETTO. (whose name is unknown to me) has hit upon the device of making the waiting-maid betray Don Alfonso's plot to the sisters before the entrance of the pretended friends, so that they are supposed to be hoaxing their lovers all the time, and the latter have to sue for pardon at the end. Despina's disguise as the doctor is retained, but a real notary is brought in for the last finale. Arnold proceeded similarly in his English version, "Tit for Tat." 41 L. Schneider, too, has made the same alteration, with the difference that Despina does not betray to her mistresses the plot against them until the second act, from which time they feign the weakness with which they mean to chastise their lovers. But this alteration implies a coarseness of conduct in the two sisters which is scarcely less reprehensible than their fickleness. The musical characterisation also is destroyed, since they are now supposed to feign the sentiments which they were originally intended to express in all seriousness; the inconsistency is sometimes unendurable. Added to this, the second finale is nullified by the altered catastrophe, and the charming part omitted where the men recall the characters assumed by them. 42
It would have been necessary to bring the psychological interest of the drama into the foreground in order to conceal what was objectionable in the situations. Ingenuity and delicacy of invention might have turned the subject into an interesting drama, with the guilt and mishaps so evenly balanced that the whole might naturally come to a cheerful and pacifying conclusion. Da Ponte's text in no way fulfils these requirements; he takes his stand on the level of the ordinary opera buffa, and demands to be measured by that standard. He makes some attempt at more delicate characterisation in his Fiordiligi, in which Ferrando partakes, but the remaining characters are all of the usual opera buffa type, and only receive their individual stamp by virtue of the music. Nor do the situations COSÌ FAN TUTTE. display much more of original invention. The only animation afforded to the play, consisting of the pretended poisoning and the entrance of Despina as doctor, is neither new nor refined, and the plot proceeds without exciting either interest or suspense. But it gives occasion for a succession of musical situations which, considered apart, have been skilfully treated by Da Ponte. The parting scene, the sestet, and especially the first finale, are thoroughly musical in design, and Da Ponte's verses are easy and flowing, often not devoid of wit. Unfortunately his energies are almost all exhausted in the first act. While this contains a wealth of ensemble movements and contrasting situations scarcely to be found in any other opera, the monotony of the second act is strikingly apparent. It does not seem to have occurred to Da Ponte to develop his plot by means of an artistic arrangement of ensemble pieces. His sole care has evidently been to apportion the airs and duets indispensable to the chief characters in opera buffa with a due regard to dramatic contrast. 43
Mozart therefore found himself once more engaged upon an opera buffa in the strict sense of the term. The plot is without meaning, the characters without individuality, deriving what effect they have by means of the ordinary resources of low comedy and exaggeration. Passion and feeling rarely assert themselves without the disturbing elements of hypocrisy and deceit; and thus the source of Mozart's own peculiar conception of musical representation is virtually closed to him. Then, in addition, the demands of the artists had to be taken into consideration. We can only wonder, under the circumstances, at Mozart's power of seizing every point which could be turned to the service of his artistic conceptions; the work reveals a side of his nature which has not hitherto appeared. 44
The unreserved expression of emotions throughout the THE MUSIC—ENSEMBLES. opera affords a not ungrateful field for musical representation. The awkwardness of having three terzets for male voices following each other disappears under Mozart's treatment, since he makes each the natural outcome of the situation, and they serve as joint members of one organism to produce a natural climax. The first terzet takes its tone from the excited mood of the young officers, which Don Alfonso seeks with easy playfulness to moderate. In the second, Don Alfonso comes to the foreground with his old song about the phoenix and woman's faith, which he sings in a tone of good-humoured irony, exceedingly well supported by the orchestra, while the other two try mainly to interpose and stop him; it is a most original piece of music, full of excellent humour. The third terzet displays the high spirits of the lovers, raised to a pitch of great excitement, and the music brings the merry feast to which they are already looking forward vividly before the mind. The light and cheerful, somewhat superficial tone which here prevails, fixes the ground-tone of the opera. The young men are characterised generally, without accentuating their individualities; they stand opposed to Don Alfonso, whose contrasting character comes out all the more sharply. The duet for the two sisters (4) is more elevated in tone, to accord with the situation. They are melting in tender emotion as they gaze on the images of their lovers, and the expression of the music is full of life and sensuality, but more animated than warm, with no echo of those gentle accents in which Mozart elsewhere so inimitably characterises the hidden longings of the soul. The unanimity of sentiment here again obscures individual character, and the modifications are more musical than dramatic in their nature. Don Alfonso's COSI FAN TUTTE. short air (5), where he appears to urge composure, characterises not his true nature, for he is feigning all the time, but the situation, and that with a degree of exaggeration which comes out in striking relief to his otherwise calm and equable nature. The tone and delivery of the air are correctly indicated by Don Alfonso's words: "non son cattivo comico"; the deceit is conscious and evident throughout, and it is rendered easy for the performer to let an ironical tone occasionally peep through. The following quintet (6) carries us to a height hitherto unsuspected. The grief of the sisters at the prospect of separation from their lovers is expressed with ever-increasing passion, while conscious dissimulation imposes a certain restraint on the men, though the emotion they express is in itself genuine enough; the softer nature of Ferrando betrays itself in his gradually increasing sympathy with the sorrowing women. The ironical element introduced by Don Alfonso, just at the point when the passionate lamentation of the sisters is making the greatest impression on their lovers, prevents the situation from passing altogether into the pathetic vein. This quintet undoubtedly belongs in every respect to Mozart's highest achievements. The short duet (7) on the other hand, in which Ferrando and Guillelmo seek to console their trembling fair, ones is poor both in musical substance and characterisation, being an easily constructed piece of the kind which the general public loved. The march with chorus (8), which comes next, is simple, but very fresh and pretty, well suited both to the situation and the character of the opera. The farewell scene (9) takes place at the same time—indicated in the autograph score as "Recitativo coi stromenti"—and is a perfect masterpiece of beauty and delicate characterisation. The broken sobs of the afflicted women have something of the same comic effect as the infinite sorrow of childhood, and the men seem, half involuntarily, to imitate them; but when the last adieux have been exchanged they give vent to such a sweet and touching sound of lamentation that even the lovers are touched by it, and Don Alfonso is silenced. The repetition of the chörus interrupts the tender leave-taking just at the right time, and endows the scene with fresh life and animation. It finds an appropriate conclusion in the TERZET. tones and gestures of the two maidens as they wave their adieux from the shore, while Don Alfonso appears to share their feelings with a sort of ostentation of sympathy. This terzettino (10) shows Mozart's power of displaying endless shades of one and the same feeling. The farewells wafted from the shore are more composed than the lamentations called forth by the idea of separation, or even by the separation itself; they are more pure also, more intense, and transfigure all that has gone before with the light of a tender and harmonious grace finding its expression in separate sharp suspensions, and especially in the unexpected dissonance which occurs upon "desir—[See Page Image]
The murmuring accompaniment of the muted violins, combined with the soft full chords of the wind instruments, suggesting the idea of the sea-voyage, contribute to the colouring of this gem of musical expression. The instrumentation throughout this first division of the opera is carefully and admirably managed. The first terzet is simple, the lively figures for the stringed instruments denoting its character, while the oboes, bassoons, and horns strengthen the lights and shades; it is quite otherwise in the second, where the stringed instruments have a gentle accompanying passage, while a flute and a bassoon carry on the melody of the song; the third is brilliant with trumpets and drums, shrill oboes and rapid violin passages. During the whole of the love scene the clarinets are kept in the foreground, the combined orchestra is full and soft, but milder and more sparkling in the last terzet, where flutes come in; the contrasting clang of the lively and vigorous march is highly effective. Thus far all has taken a natural course, and we COSÌ FAN TUTTE. have met with no unusual characters, no startling situations; the emotions represented have been true and simple, and have been the necessary consequences of the events composing the easily comprehended plot. The musical depicting of such emotions is a grateful task; if it is true in itself and a faithful rendering of the given situation it cannot fail of its effect. And Mozart has here combined truth of characterisation with a beauty of form and a charm of sweet sound which almost overpower the ear, and are scarcely to be found in such fulness in any other of his operas. The further development of the plot leads to a sharper characterisation of individuals. Dorabella first unfolds her grief in a grand air (n) introduced by an accompanied recitative. It consists of one movement (allegro agitato) which receives its distinctive character from the sextole passage for the violins—[See Page Image] which does not cease for one bar until just before the end; an unsteady trembling movement is imparted to it by varied harmonic transitions, and an occasional sharper accentuation by the full chords of the wind instruments. The simple sustained voice-part moves above this accompaniment in short expressive phrases, rising now and then to a tone of passionate appeal, and at the close to an unexpected pathos. Both in musical treatment and emotional expression the air takes a high rank; but none the less is it in striking contradiction to the character of Dorabella as it is afterwards developed. It is she who proposes to her sister to coquet with the new lovers, and in the duet (20) in which they agree to do so it is she who takes the initiative. In the duet with Guillelmo (23) 45 she shows herself so easily persuaded and so full of amorous passion that it appears the revelation of her true nature. It renders superfluous her subsequent expression of opinion in an air (28) that love rules over all hearts, and it is but folly to resist his sway. This air has a certain resemblance to the first in the simplicity of the DORABELLA. voice-part and the moderation of the expression, although the feelings inspiring it are of such a different nature. The accompaniment again bestows upon the song its peculiar colouring; and the great prominence given to the wind instruments adds an insinuating and specious tone to the whole. But a closer examination reveals the evident contrast of the two songs. Dorabella is a woman of lively but not deep feeling; excitement is necessary to her, even though it may be of a painful nature—she cannot live without it. Her expressions of sorrow increase in intensity, and the orchestra is markedly toned down to allow her to display her true, somewhat shallow nature. Besides this, the exaggerated tone of her grief, displaying its want of perfect sincerity, is strongly marked by the words, e.g.—
and the music takes the cue therefrom. While borrowing the pathetic tone and form of the opera seria, she turns them into a parody like that of the text, invoking the furies with all the rhetorical apparatus of tragedy; this is especially noticeable towards the close:—[See Page Image]
The parody facilitates the difficult task of carrying the musical expression of emotion to an exaggerated degree without making it ugly and unnatural. The refined delivery of the vocalist, and the ready apprehension of the audience, must always be presupposed. In the character of Fiordiligi Da Ponte has unquestionably kept Ferraresi del Bene in view; he was said to stand in tender relations towards her. 46 According to him she had a fine voice and an original and affecting delivery, and this opinion was confirmed by the London critics, although she was never considered there as a true prima donna; 47 and Mozart himself remarked that it was not saying much to pronounce Allegrandi far superior to Ferraresi. She had not a good figure, and was but an indifferent actress; but she had beautiful eyes and a charming mouth, and was in great favour with the public. It is not surprising, therefore, that Fiordiligi should have been placed on a higher level than her sister, both musically and dramatically. 48 Her very first air (14) places her in a far more favourable light. The disguised lovers, after a decided repulse, renew their shameless attack. Fiordiligi's condescending to answer them and to assert her inflexible constancy may not, indeed, be a proof of fine feeling on her part, but it demands an energetic and emphatic tone and strong and appropriate colouring. We therefore have a bravura air in two movements, an andante and allegro, closed by a long coda in accelerated tempo. The comic effect again rests on the element of parody, which is even more strongly marked than in Dorabella's air; the bravura passages, intervals of octaves, tenths and twelfths, the roulades which she flings at her opponents, the bass-like passages in the deeper register of the voice, all characterise Fiordiligi's Amazon-like haughtiness in an exaggerated manner. Afterwards, it is true, she FERRANDO. is induced by her more thoughtless sister to coquet with the new lover, but Dorabella's lover presents himself after a fashion calculated to make a strong impression upon her. Guillelmo is always light-hearted and cheerful; while, even in the parting scene, Ferrando has shown himself to be a man of softer mould. His air (17), after the first repulse of his suit, leaves no doubt as to his nature. It renders the vapid sentimentality of the words with remarkable tenderness and delicacy, but this kind of sentimentality being quite foreign to the southern nature, the portrayal of it would rouse more ridicule than sympathy. Such a character cuts a comic figure upon the 'stage—a circumstance which must be borne in mind in considering this opera. Even in his feigned wooing he expresses his feelings with warmth and animation, his eccentricities being indeed heightened by the difficulties of the situation. This is just the demeanour calculated to make an impression on Fiordiligi, and she soon begins to waver. Perceiving this, he expresses his delight with an extravagance which a man of calmer temperament would have been incapable of dissembling; 49 it is evident that his fancy gets the better of his excited feelings. So apprehended, this air (24) not only entrances our minds by its continuous flow of lovely melody, but gives us a sense of natural fitness for the situation and characters. It would have been an impossible task for music to represent Ferrando as singing this song with coolly calculated dissimulation; for the exaggeration of caricature is only appropriate when no conviction is required to be brought home to us, whereas here the impression experienced by Fiordiligi must be shared by the audience before it can become intelligible. The music must therefore express a feeling by which a man of excitable nature would be likely to be carried away.
In this way only can we justify the deep impression made upon the equally excitable Fiordiligi, when, left alone, she reproaches herself doubly for having coquetted with Ferrando, and been false at heart to her lover. The feeling COSÌ FAN TUTTE. of remorse, and of newly strengthened fidelity which the memory of her absent lover inspires, is charmingly expressed in the lovely air (25), "Per pietà, ben mio, perdona." This is genuine emotion, springing from the heart, and the music expresses it with all the charm of pure melody. This important air, in two elaborate movements—adagio and allegro—gives ample opportunity for display to the singer and an independent part to the wind instruments, especially the horns, without doing injury to truth of expression. It is undeniably akin to the great air in "Figaro" (p. 92) composed for the same Ferraresi, although they differ both in tone and colouring. Probably the individuality of the singer, distinctly recognisable in the three songs, exerted considerable influence over their composition; and it may also be remarked that too vivid a representation of such a mood as this would have exceeded the limits of opera buffa; even as it is it suggests almost too serious a complication and solution of the situation. Ferrando, on learning the faithlessness of his Dorabella, breaks at first into violent indignation; but this soon gives way to softer feelings, which he cannot overcome. In his lovely cavatina (27)—so Mozart has entitled it—his anger is only faintly suggested, while the memory of his still-loved Dorabella shines forth from the darkness of the soul. 50 While he is yet in this sentimental mood he is urged by Don Alfonso to make one more attack upon Fiordiligi's heart. With this intent, he surprises her in the act of putting into effect her romantic determination to escape from her own weakness by donning man's attire and following her lover to the wars. The duet which ensues (29) is of singular design and unusually rich elaboration. In contrast with Fiordiligi's grandiloquent sentiments, as she fancies herself again by the side of her lover, comes the melancholy plaint, the urgent petition of Ferrando; her resistance grows weaker as his entreaties grow more earnest—until at last she sinks into FERRANDO—GUILLELMO. his arms. This scene consists of a regularly worked-out duet in two movements, but the long suspense requires a corresponding length of reaction from it, and we have to all intents and purposes a second duet, with two movements expressive of the happiness of the lovers. Here again the expression of feeling is so direct and true that we cannot but imagine Ferrando carried away by the impulse of the moment. In fact, these two characters and their relations to each other are somewhat out of keeping with the rest of the opera. Da Ponte failed in giving due effect to the deeper psychological interest of the characters; Mozart has clothed them in flesh and blood, but even he has failed to endow them with the distinct and vivid personality which is to be found in "Figaro" and "Don Giovanni."
No doubt the idiosyncrasies of the performers, who were for the most part more of singers than actors, and had apparently not much talent for comedy, had considerable influence on the plan of the piece; 51 the part of Guillelmo was written for the excellent buffo Benucci (Vol. III., pp. 51, SS). 52 He first comes forward independently, when, in his disguise as an Albanian, his first attack has been repulsed and, Fiordiligi having expressed her haughty indignation, he boldly ventures on a fresh declaration of love. Here he had originally an air (584 K.) of the most decided buffo type, which opposed to the exaggerated pathos of Fiordiligi an extravagance of a different kind, and expressed in strong caricature the confidence of the new wooers in the ultimate success of their