ON THE PRESENT STATE OF THE OPERA IN LONDON. 227 



Other arts extended to music, the good effects of this course would 

 become visible in the amelioration of public taste which must neces- 

 sarily ensue. 



The opera before us is eminently characteristic of Mozart, yet we 

 perceive that the poet is unbending himself, and lowering the dig- 

 nity of his style, while by imparting to it additional grace he ren- 

 ders it to the majority of his hearers more attractive. His dramatic 

 talent is equally conspicuous in this instance as in the works before 

 noticed ; the characters are distinctly and naturally represented, and 

 the effect of their peculiarities heightened by the art with which 

 they are contrasted. Concerted pieces do not form so prominent a 

 feature, nor are they on so grand a scale ; yet the quintett. Alia 

 hella Despinetta, is excellent, and the finale to the first act contains 

 some elaborate and masterly writing. Of the arietts and duets 

 which abound throughout the opera, it might be difficult to find 

 their rivals in loveliness, except in the unknown works of the ne- 

 glected and slighted Winter. Ah ! guarda sorella is an instance of 

 the simple means by which Mozart attains some of his most delight- 

 ful effects; the melting of the andante into the clear allegro is pe- 

 culiarly happy. The duetto Fra gli amplessi is a beautiful specimen 

 of the union of grandeur and pathos. The whole scene is admira- 

 bly treated, and deserves attentive study ; the change into C at the 

 allegretto is most impressive, and the loftiness of the impassioned 

 address of Ferando cannot be surpassed. The return into the key 

 of A is skilfully effected ; every note enhances the dramatic effect ; 

 nothing is admitted merely for the sake of the modulation. But it 

 is the andante which winds our feelings from the highest pitch of 

 excitement into an extacy of pleasure. Words are inadequate to 

 convey an idea of this most delicious movement ; it must be heard, 

 or, still better, studied, and the more closely it is examined the higher 

 will the composer rise in our estimation. The part of Ferando is 

 distinguished throughout by pathos, grace, and refinement. Una aura 

 amarosa and Ah ti veggio are strains which will be listened to with 

 pleasure in every age. Although the part of Fiordegli contains 

 music both dignified and impressive, it is occasionally tinged by the 

 conventional style calculated to display the prima donna of the day. 

 Despina and Dorabella enjoy the advantages accorded to persons in 

 their humble sphere, both in real life and on the stage, of display- 

 ing the impulses of their nature unrestrained by art or fashion. 

 Una donna a quindici anni, and Amore un Ladroncello, are favour- 

 able specimens of their respective characters. Guglielmo has the 

 rare merit of being a comic personage without the slightest tinge of 



