t
compelled to hear the awkward commonplaces of the English translation
of the libretto. The German version, in which the opera had its first
hearing in Munich six years before, is in a vastly different
case--neither uncouth nor halting, even though it lacks the
characteristic fluency essential to Italian opera buffa; yet no more
than did the speech of most of the singers at the Metropolitan
performance. The ripple and rattle of the Italian parlando seem to be
possible only to Italian tongues.

The Mozartian type of music is illustrated not only in the character of
many of its melodies, but also in the use of motivi in what may be
called the dramatic portions--the fleet flood upon which the dialogue
dances with a light buoyancy that is delightfully refreshing. These
motivi are not used in the Wagnerian manner, but as every change of
situation or emotion is characterized in Mozart's marvellous ensembles
by the introduction of a new musical idea, so they are in his modern
disciple's. All of them are finely characteristic, none more so than
the comical cackle so often heard from the oboe in the scenes wherein
the women gossip about the imaginary doings of the men--an intentional
echo, it would almost seem, of the theme out of which Rameau made his
dainty harpsichord piece known as "La Poule." The motto of the club,
"Bandie xe le done," is frequently proclaimed with more or less
pomposity; Florindo's "Ah, Rosaura," with its dramatic descent, lends
sentimental feeling to the love music, and the sprightly rhythm which
accompanies the pranks of Colombina keeps much of the music bubbling
with merriment. In the beginning of the third act, not only the
instrumental introduction, but much of the delightful music which
follows, is permeated with atmosphere and local color derived from a
familiar Venetian barcarolle ("La biondina in gondoleta"), but the
musical loveliness reaches its climax in the sentimental scenes--a
quartet, a solo by Rosaura, and a duet, in which there breathes the
sympathetic spirit of Smetana as well as Mozart.

[Footnote: The cast at the first performance at the Metropolitan Opera
House was as follows:--

Ottavio.................................Adamo Dfdur
Beatrice........................... Jeanne Maubourg
Rosaura............................Geraldine Farrar
Florindo......................... Hermann Jadlowker
Pantalone....................... Antonio Pini-Corso
Lelio...........................