MOZART found rules as to the form and technicalities of the opera [ 1 ] seria rigidly laid down even to the minutest details, and he was the less tempted to disregard these, since the extraordinary ease of his invention prevented his ever finding a prescribed form to be a burdensome restriction. Mozart's mission was not to overstep the bounds of custom, but quietly and gradually to bring to perfection all that was genuine and true in the diverse elements of his time. He found the opera already in the hands of the vocalists, and execution had by this time asserted its victory over characterisation. He did not attempt to enter the lists against singers and public, but contented himself with striving for fair conditions. He was willing to write to the satisfaction of the singers, and for the display of their powers, but he saw no necessity for "MITRIDATE." sacrificing to this object either musical beauty or dramatic force. At times the dramatic situations in Mozart's early operas are true and even striking; but the dramatic element yields on the whole to execution and euphony. It must not be overlooked that the apprehension of dramatic truth and character varies with different times and different nations, and that the genius of first-rate artists could inspire life into what now appears a lifeless assemblage of notes. But it must at the same time be allowed that Mozart's operas of this period come under the influence of a taste perverted in many respects, which the youthful master had not yet overcome; and his forced compliance with many purely conventional demands must of necessity have left traces on his work as deep and lasting as those of his creative genius.
The opera of "Mitridate, Re di Ponto" (87 K.) was first adapted from Racine by the Abbé Parini, and revised by Vitt. Am. Cigna-Santi. The dramatis persona are as follows:—[See Page Image]
On the news of the death of Mithridates the inhabitants of Nymphæa deliver up the keys of the town to his son Sifares. Aspasia seeks his protection against the suit of his brother Pharaaces, thereby betraying her partiality for Sifares, which he secretly returns. Pharaaces attempts to force his hand on Aspasia, whereupon Sifares throws himself between them; Arbates separates the contending brothers with MOZART'S EARLY OPERAS. the news of the landing of Mithridates; they are reconciled, and agree to keep secret from their father what has passed. Marzio promises to the ambitious Phamaces the help of the Romans against his father.
Mithridates enters, proud and courageous in spite of the defeat he has just suffered, and is received by his sons; he introduces to Pharnaces his destined bride Ismene, who regards Pharnaces with little favour. The demeanour of his sons awakens the suspicions of Mithridates, and on Arbates revealing to him the passion of Pharnaces for Aspasia, he falls into an extravagant rage. Pharnaces acknowledges to Ismene that he no longer loves her; whereat, wounded alike in her pride and her love, she complains to Mithridates. The latter resolves to punish him, and suspecting from Aspasia's cold demeanour towards himself that she returns the love of Pharnaces, he sets Sifares to watch her. The lovers of course now come to an understanding, but Aspasia virtuously commands Sifares to leave her for ever to the fulfilment of her duty.
Mithridates, in order to test the fidelity of his sons, consults with them on the prosecution of the war; he discovers the complicity of Pharnaces with the Romans, and orders his imprisonment; Pharnaces acknowledges his çuilt, but accuses Sifares of the greater guilt of complicity with Aspasia. In order to try her, Mithridates offers generously to resign her hand to Pharnaces, which draws from her the confession of her love for Sifares; this so infuriates Mithridates that he resolves to slay his two sons and Aspasia. This is the crisis at which the second act is brought to a conclusion by a duet, in which the lovers declare death preferable to separation.
In the third act, Ismene, repenting her resentment, strives to soften Mithridates, and Aspasia solicits Sifares' life with an assurance of his innocence; but, as she refuses to give her hand to Mithridates, he maintains his resolve, and the triple execution is to take place during a sally which he makes on the Roman host besieging the city. Aspasia is on the point of emptying the fatal bowl, when Sifares, who has been set free by Ismene, snatches it from her, and rushes against the enemy. Pharnaces, who has been released from his dungeon by the besieging Romans, is seized with compunction and returns to his obedience, setting fire to the Roman fleet. The Romans are defeated, but Mithridates is mortally wounded; before he dies he unites Aspasia and Sifares, and pardons Pharnaces, who has made his peace with Ismene.
The opera consists of twenty-four numbers without counting the overture; they are all solo songs, except one duet and the concluding quintet.[ 2 ] The original score appears to be lost; but several detached numbers of this opera are ANALYSIS OP "MITRIDATE." preserved in different forms of composition, showing that Mozart had made various experiments, more, doubtless, to please the singers than himself. Of the first air of Mithridates (7), "Se di lauri il crino adomo," there are four different sketched studies; Aspasia's song (13), "Nel grave tormento," is begun in a different form, but breaks off at once; five other numbers are completely worked out, but have given place to later arrangements.[ 3 ]
This opera comes in all respects within the rules of the existing opera seria. Musical etiquette is strictly adhered to; the principal and secondary parts are divided in the usual way; the secondary parts are easier (not always simpler), and their character is tamer and less important, so that they may act as foils and connecting links to the principal parts. The chief singers had to be furnished with opportunities for making effect as soon as they appeared; and must have at least one great aria in each act. All this is carefully provided for. The compass and executive skill of the artists, more especially of Bernasconi and d' Ettore, must have been extraordinary. The division of the aria into two movements, which prevails here as elsewhere, favours the elaboration of details by affording more than one principal subject. We must not expect to find a uniform florid song, the ornamental passages growing out of and entwining the chief melody, like an architectural ornamentation; they form an integral part of the composition. The taste in such passages is essentially MOZART'S EARLY OPERAS. fleeting, for it depended chiefly on the skill of the individual performer; what is most admired in one age is least pleasing to the next. The same dismemberment made itself apparent too, in the cantilene. The various vocal tricks, long notes, sustained melodies, long jumps, syncopated passages, &c., to which due effect had to be given, could not be thrown together without some connecting principle. For this the subjects of the songs were made use of, but the effect was still disjointed and inartistic. The detached phrases were usually still further separated by a full or a half cadenza, to which an instrumental interlude was often attached. No doubt this wealth of variety was then considered a great charm; now we miss unity of form and conception. The turns of harmony are generally monotonous and poor, the form of the cadenza with its trills is just as stereotyped as that of the present day with its suspended sixth, and both the singer and the public expected and required that this should be so. No doubt the freedom which was allowed to the singer in delivery often gave quite a different form to the cadenza, but the want of conception could at best but be concealed.
These shortcomings are not to be ascribed in Mozart's case to youthful immaturity, but to the musical conditions of the time at which he wrote; they are equally observable in the works of the most experienced contemporary musicians, and were indeed hardly regarded as blemishes. The question involuntarily arises what there was in these early operas which could so enchant the public and draw from a master like Hasse the prediction that this youth would eclipse them all. A witty artist once declared that the public always requires novelty, but it must be novelty that they are acquainted with; anything really new demands too great an effort of comprehension from them. In this case, no doubt, the public, agreeably prepossessed by the readiness with which the work complied with all existing conditions, were quick to appreciate the skill and taste which were manifest, as well as a certain youthful freshness, and here and there traits more significant still of genius; traits in which Hasse recognised the germ of future development. We, who know Mozart in the full perfection of his powers, seek eagerly in ANALYSIS OF "MITRIDATE." these earlier works for such indications as there are of his future greatness. Sometimes, even in the bravura songs, pure, grand touches of melody light up their conventional surroundings; these are usually in the second part, and in the minor key. The more dramatic "situation-songs" in which the composer made fewer concessions to the singers, are not only conciser in form, but more pregnant and original in expression.
