55 ([return])
[ In both versions, Guillelmo's air breaks off on the chord of the seventh, and is immediately followed by the terzet. At the beginning of the latter is written ridono moderatamente (not fortissimo).]
56 ([return])
[ Rochlitz, A. M. Z., III., p. 592.]
57 ([return])
[ This appears to be a later alteration. The preceding recitative ended originally at—[See Page Image] and the direction followed Segue V aria di Don Alfonso; the d was crossed out, and attacca written against it. Even if Mozart did not look upon the ensemble as a regular quartet, he could scarcely have denominated it "Aria di Don Alfonso"; such an aria must therefore have been projected, and afterwards changed for the ensemble.]
58 ([return])
[ Rochlitz, A. M. Z., III., p. 593. Cf. Ambros, Culturhistor. Bilder., p. 191.]
59 ([return])
[ One can hardly credit Schroder's remark, on seeing the opera, rechristened by Stegmann "Liebe und Versuchung," May 1, 1791, at Frankfort: "Wretched! Even Mozart's music is only good in the second act." (Meyer, L. Schroder, II., i., p. 68.)]