No. 12.
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The florid duet between the two novices, Mariana and Isabella, is thoroughly Italian. Again one sees, by comparison of this music with any of that of Die Feen, how determined Wagner was to write down to the comprehension of the Italian-opera public: he evidently has his eye on the singers and the audience rather than on the psychology of the characters or the atmosphere of the scene. But in the admirable duologue that follows between Luzio and Isabella, the touch is again that of the born musical dramatist. It is all irresistibly animated; the music is psychologically characteristic, the blend of passion and irresponsibility in Luzio being particularly well suggested; and there are some striking pieces of orchestral colour.
The court scene,—the mock trial in which Brighella, the viceroy's servant, poses as the judge—is carried through excellently, with an abundance of light Italian-opera humour; the roguishly knowing theme to which Brighella sings his passion for the pretty Dorella may be taken as typical—
No. 13.
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Dieses kleine Schelmenauge macht mich wahrlich ganz verwirrt.