Besides the solo songs the opera contains a duet for J unia and Cecilio, and a terzet for the same and Silla, which are cleverly constructed, but not otherwise remarkable. The duet (7) consists of an andante and a somewhat tedious allegro, in which the voices go together for the most part in thirds or sixths, with little attempt at imitation. The terzet "LUCIO SILLA"—ENSEMBLES. is well conceived. Each of the three voices has a characteristic motif, which is not elaborated, but set in contrast with the others; afterwards the lovers are set in opposition to Silla, and the expression is heightened by occasional use of the three voices together; in short, some traces are here discernible of the talent for musical architecture which Mozart afterwards displayed is so remarkable a degree.
The scene which precedes the close of the first act deserves special notice; it is both conceived and executed with true dramatic force. In a hall (atrium), decorated with the trophies of his ancestors, Cecilio awaits in the twilight the coming of Junia. The varied emotions roused in him by the contemplation of the graves of departed heroes, and the yearnings of love, are graphically expressed in an accompanied recitative. Junia appears, escorted by noble Romans of both sexes. The chorus calling on the spirits of the heroes for support and vengeance is serious to solemnity, with striking harmonies and an independent treatment of parts, giving animation to the whole—an altogether excellent piece of music, with much dramatic effect. Junia joins in with a prayer to the shade of her father. The pain of a proud, strong spirit is expressed in a simple and dignified adagio, which gives a fine soprano voice full scope for the display of its capabilities. The prayer is followed by a curse pronounced on Silla by the chorus, powerful and animated, and a fitting close to this truly dramatic musical scene. A resemblance to the first chorus in Gluck's "Orfeo," pointed out by Sonnleithner, is too slight to be considered more than a mere suggestion.
Among the secondary parts that of Celia has the most independence of character. Her two first songs (3 and 10) are, on the whole, simple and graceful, especially the second. Passages in Cinna's three songs (1, 12, 20) and in the air for the second tenor, Aufidio, are calculated to display the powers of the artists, but the songs, as a whole, have little or no individuality.
There are two choruses besides that which we have noted, but neither of them are so impressive. In the second act Silla's appearance on the capitol is greeted by a chorus which MOZART'S EARLY OPERAS. is powerful, and supported by a running accompaniment. The last act is brought to a conclusion by a chorus, alternating with the solo voices, but the movement is unimportant.
The overture consists of the usual three movements (Molto allegro 4-4, Andante 2-4, Molto allegro 3-8), and pretends to no connection with the opera itself, being altogether after the ordinary pattern. The treatment of the orchestra is not unusual. Trumpets are frequently used, and sometimes kettledrums; but this is of little moment—more interesting is the fact that the wind instruments are often freer and less subordinate to the strings than usual. An attempt is evident to render the accompaniment full and lively; the second violins have characteristic and occasionally imitative passages. But these are merely attempts; the influence of the traditional form overpowers all endeavours after a freer method; it displays itself in many mechanical habits, as, for instance, in the harmonic turn which almost invariably precedes the singers' cadenzas:—[See Page Image]
The two festival operas composed in 1771 and 1772 belong in essentials to the opera seria, but were subject to certain special rules. The festa (azione) teatrale, also called serenata, were arranged with immediate reference to the person in whose honour they were given. They were usually also allegorical, the advantage of this kind of poetry being that it was capable of expressing more or less open flattery. A pastoral character was almost always given to the treatment of the old myths, so that the dramatic element was thrown into the background, and the brilliancy of the entertainment was left to depend principally on the magnificent costumes and scenery. The musical treatment became more openly and unreservedly undramatic, and the composer was satisfied with affording a means of display to the singers. The serenata was in the traditional three acts, but not bound by the scenic divisions of the opera "ASCANIO IN ALBA," 1771. seria; as it originally served as an interlude to other festivities, it was usually also shorter. As a rule, it was only performed once; and took the second rank after the opera seria.[ 4 ] It was on this account that the festival piece was intrusted to young Mozart, the opera to Hasse.
In "Ascanio in Alba" (111 K.) Parini[ 5 ] had endeavoured to produce a work worthy of a festivity such as the marriage of the Archduke Ferdinand with the Duchess Marie Beatrice d'Este. Divinities, heroes, and shepherds form the dramatis persona, and there are abundant choruses, ballets, and spectacular effects, with no lack of flattering by-play. The programme will serve to show what distinguished artists[ 6 ] were engaged to represent this piece:—[See Page Image]
Venus, preceded and accompanied by a chorus of genü and graces, descends from heaven with her grandson Ascanio, and informs him that she desires to unite him with Silvia, a lovely and virtuous nymph of this her beloved land. Silvia is of the race of Hercules, and Cupid having caused her to see Ascanio in a vision, she already glows with secret love for him. Ascanio is filled with joy, and being counselled by Venus to prove Silvia's constancy before declaring himself to her, he expresses impatience at this postponement of his happiness. Fauno comes to the sacrifice with a chorus of shepherds, and reverently extols the goodness of Venus to the country and the people. Silvia then draws near, accompanied by Aceste and a chorus of nymphs and shepherds. The priest Aceste informs Silvia, whom he has brought up, that Venus herself intends to unite her to Ascanio, and to found a new city with their progeny, and expresses his MOZART'S EARLY OPERAS. joy in a long aria. Silvia is amazed, and declares her love for the youth whom she has seen in her dreams; Aceste consoles her by saying that Venus must have sent the dreams, and she in her turn sings a long song denoting her joy. After all have retired to prepare the sacrifice Ascanio declares in an aria his delight with the charming Silvia; but Venus exacts that he shall yet make trial of her virtue.
A ballet follows this act, in which the nymphs and graces astonish the shepherds by changing the grove into a splendid temple, the first building of the newly founded city.
Silvia beholds this new erection with admiration, and utters her longing for the yet unknown beloved, in which she is supported by a chorus of shepherdesses. When Ascanio appears she recognises her lover in him; but as he feigns not to know her, she remains doubtful, and Fauno confirms her in the error that it is not he; she swoons. Ascanio laments that he cannot show himself in his true form, and departs, whereupon she revives, and makes known her anguish and determination to remain true to her duty in a long recitative and aria. Then he returns, and throws himself at her feet. She repulses him with the words, "Io son d' Ascanio," and flees, which gives him opportunity for a song full of tender admiration. Aceste, to whom she confides all, praises her for her virtue. Venus appears with the chorus of nymphs and shepherds, and presents Ascanio to Silvia as her spouse. After the lovers and Aceste have announced their joy in a terzet, Venus exhorts the young rulers to fulfil their duties faithfully to their subjects, and ascends to Olympus among the expressions of gratitude uttered by Aceste in the name of the people; and a joyful chorus brings the whole to a conclusion.