The description which Fauno gives of the guardian divinity of the country, and the address of Aceste to Venus as she departs, contain so many allusions to Maria Theresa that non-recognition was impossible. Silvia too, of the race of Hercules (the name of Ercole was common in the family of D'Este), the pupil of Minerva and the muses, the pattern of virtue and modesty, is undoubtedly the Princess Beatrice, whose intellect, literary cultivation, and amiability were universally admired.[ 7 ] There was less to be said of the Archduke Ferdinand; nothing could be made of him but a fair youth with rosy cheeks. It is worthy of note that although mutual liking founded on beauty and spiritual endowments is highly extolled, yet, as became a royal wedding, the subjection of inclination to duty is made the "ASCANIO IN ALBA," 1771. theme of highest praise. The union had not been consummated without difficulty,[ 8 ] and some anxiety was felt as to the relations of the young couple.
"The Archduke and his wife are well and very happy," writes L. Mozart, "which must be a great satisfaction to Her Majesty the Empress, because it was feared that he would not think much of his wife, she not being beautiful; but she is uncommonly amiable, pleasant and virtuous, consequently beloved by every one, and she has quite captivated the Archduke, for she has the best heart and the most engaging manners in the world."
The original score, in two volumes of 480 pages, is preserved: it contains twenty-two numbers. At the close of the first act we have the bass part of the ballet in nine numbers, written by a copyist, and affixed, doubtless as a guide to the conductor. L. Mozart writes expressly that the ballet which connects the two acts was to be composed by Wolfgang (September 7, 1771); there must have been a special score for the manager of the ballet which has not been preserved.
We cannot help wondering that Hasse should have founded his prophecy of Mozart's future greatness on this opera, for it seems to us less original than its predecessors. It certainly displays talent and assurance, but there is not an original idea in any of the fourteen songs to be compared with those of the former operas. The accompanied recitatives do not arrest attention, the most animated among them being the recitative (13) in which the lovers, seeing each other for the first time, express their agitation in asides. Contrary to custom, the wind instruments are employed in the recitative; but otherwise the treatment of the orchestra calls for no remark. One song of Silvia's (11) is accompanied by four horns (two in G, two in D) without any singular effects; the last song of Ascanio (18) has, besides horns, bassoons and flutes, two serpentini (in F), instruments which, Schindler suggests, resembled the English horn.
The most prominent among the singers was Manzuoli, for whose part Mozart now applied the instruction he had MOZART'S EARLY OPERAS. formerly received from him in London (p. 41). It is written for a mezzo-soprano, keeps always to the middle notes, and has no passages at all; only here and there easy embellishments. The simple lingering melody is not without feeling, which, however, never rises to passion. The first song (2) begins with a long-sustained note, whilst the last resembles those in "Lucio Silla" in its tender playful grace.
There is more variety in the part composed for Maria Ant. Girelli-Aguilar, who sang in Gluck's "Aristeo" and "Orfeo" in Parma (1769). The first cavatina (7) is simple, graceful, and complete in design and treatment; two others (8, 11) are bravura songs, with brilliant passages, the melody having an air of dignity, which is also apparent in the last song (16), both in the adagio and the allegro.
Gius. Tibaldi, whom Gluck had summoned to Vienna, where in 1767 he sang the part of Admetus[ 9 ] in "Alceste," was already in years, and his voice past its prime; his two songs (6, 19) are adorned with long passages, which imply a very fluent singer.
In the closing terzet (21) the voices are at first contrasted in detached characteristic motifs; but afterwards the soprano and tenor are grouped together with alternating passages, while Manzuoli's part retains its simplicity of character.
Of the two secondary characters, to each of whom two songs were assigned, it is to be noted that they have a higher compass than the principal singers. Their songs, too, are richly provided with passages; but their character is perceptibly subordinate.
The choruses, seven in number, were a great ornament to the piece. They do not interfere with the action, and five are in connection with dances. Also in the overture, on the conclusion of the first animated allegro, the second movement changes into a dance "of eleven females," as L. Mozart writes, "either eight nymphs and three graces, or eight graces and three goddesses," and instead of the third "ASCANIO IN ALBA"—CHORUSES. movement[ 10 ] a chorus of nymphs and graces with corresponding ballet is introduced, the orchestra retaining the character of a third movement of the overture, and the voices (four or two-part) filling out the harmonies after the manner of wind instruments, but in a freer, more flowing style. The chorus is repeated on both occasions when Venus ascends to heaven. Most of the other choruses are also repeated like refrains on appropriate occasions; the second (3) is given six times. It is in two parts, for tenor and bass, and remarkable for its accompaniment of 2 flutes, 2 oboes, 2 bassoons (and violon-celli), 2 horns, and double-bass, but not otherwise original. The following chorus (5), introduced by a short intrada, which announces Silvia's approach (four-part, but interrupted by two short three-part movements) is blithe and animated. The accompaniment has an independent passage in dance-measure for the violins; the voices move with spirit and freedom. The second act begins with two female choruses. The first, two-part (12), acquaints Silvia of the approach of her lover, and is lively and fresh; the two voices alternate easily in imitative phrases.
