The abridged songs are adopted in the German version, but one air (20), which was marked in chalk "to be omitted," is retained. That Wolfgang was himself concerned in this adaptation is proved by the fact that on certain pages the accompanied recitatives which were retained in the German opera are rewritten in his own hand. Spoken dialogue takes the place of the plain recitatives, and the German cues are inserted by a third hand. In Rei-chardt's "Theaterkalender," the operetta, "Das verstellte Gartner-Madchen" has been included among Mozart's works since 1781, and it was performed under this title at Frankfort in 1789. Mozart probably undertook the adaptation after his return from Paris to Salzburg, when he busied himself with the improvement of German opera. The translation may safely be ascribed to Schachtner. The score is preserved in duplicate; and a selection of the songs was printed by André under the title "Die Gärtnerin aus Liebe." [ 21 ]
This opera takes an unquestionably higher rank both as to originality, technical skill, and vivid characterisation than any that had preceded it. The seven personages, all drawn in firm outline with a sure hand, are not all comic characters.
The part of Ramiro is avowedly written for a male soprano, probably for the celebrated Tomm. Consoli (b. 1753), who entered the Munich Kapelle in 1744, and was summoned to Salzburg for the approaching festival performance. The part is throughout a serious one; Ramiro is the sentimental unfortunate lover, who only becomes comic by his alternate hopes and fears, as, true to his first inclinations, he opposes Arminda's jealous resentment.
In his first unimpassioned song (2) he declares that, being scarcely healed from his first unhappy attachment, he recoils from all fresh enticements; he has not yet seen his faithless beloved again, the sight of whom afterwards causes him to forget all in the desire to win her. The cavatina (18) renders the sentiment of true and hopeful love simply and tenderly. Finally, resentment against his faithless mistress is expressed in an agitated air (21) with strongly accentuated declamation and rapid changes of harmony. All three songs render consistently the exalted mood of a man of sentiment, whose passions, nevertheless, are not consumed by their own intensity; the individuality of the singer may doubtless have lent itself to this treatment of the part. This individuality is also evident in the fact that Ramiro's songs pay chief regard to the singer in the passages, and adhere closely to the older forms. But there is unmistakable progress in the richer and freer grouping of the subjects, and in the delicate feeling with which the digression in the middle movement is treated, and gradually led back to the main subject.
Arminda stands next to Ramiro. As an imperious, passionate girl, who ill-uses her faithful lover, and runs after another man, she is more repulsive than comic. Musical characterisation, by giving to her violence an air of pettishness, has introduced a comic element into her first air (7) which brings the noble lady very near the soubrette. The air (13) in which she threatens the Count with vengeance for "LA FINTA GIARDINIERA"—SANDRINA. his inconstancy has a caricatured expression of the pathetic, which parodies the manner of the opera seria, and might, therefore, produce a comic effect. The absence of all bravura in this part, in spite of the style of the songs, which seems to call for it, was no doubt to suit the particular singer—a seconda donna.
The part of Sandrina was expressly written for Rosa Manservisi, who was highly thought of, both as a singer and an actress.[ 22 ] It is comic neither in intention nor fact. An unhappy woman, of deep and delicate feelings, injured and deceived, is forced by adverse fate to dissimulate; the difficulties into which she is led by her disguise are not ludicrous, but painful, and excite only sympathy. It was common at the time to introduce persons and situations of a sentimental character into opera buffa, without any regard to the incongruity of different styles.[ 23 ] The principal scena given to Sandrina at the close of the second act quite oversteps the boundary of opera buffa. Left deserted in the dark and gloomy forest, she gives vent to her despair in a song (21), which strikingly expresses the breathless anguish of a tender, timid maiden, in the face of unknown dangers.
A characteristic passage for the violins—[See Page Image]
the agitated nature of which is increased by syncopated notes in the accompaniment, and by the strong accent thrown on the last fourth of every bar—goes through the whole movement of the allegro agitato in varied modulation; the voice comes in with detached exclamations, and once a melodious phrase silences the accompaniment for a moment, until the orchestra again takes up its restless movement. The song passes immediately into an expressive accompanied OPERA BUFFA. recitative, in which Sandrina becomes calmer, and assures herself, by looking round, of her forsaken condition. This is followed by the cavatina (22)—
Ah dal pianto, dal singhiozzo
Respirar io posso appena,
Non ho voce, non ho lena,
L' alma in sen mancando và—