but stops suddenly, as if afraid of being overheard, and sings his joy sotto voce to Don Alfonso. This air, which afforded abundant opportunity for the display of voice and art to the happiest advantage, was laid on one side, no doubt with the conviction that so evident a caricature could not be maintained throughout the love-test without wedding internal to external improbabilities, and displaying Guillelmo in two distinct characters. Another air (15) was therefore substituted, expressing Guillelmo's character as a cheerful man of the world who takes serious matters lightly, and comports himself with ease and freedom. He turns half confidently, half jokingly to the ladies, the secret pleasure which their rejection of his suit affords him increasing his cheerfulness, and even giving it a tinge of irony. The music is quite simple, tuneful, light and pleasing, in direct contrast to the previous grand air. His second air (26) in which, after his adventure with Dorabella, his good opinion of women is considerably modified, is in perfect harmony with the first. The feeling that he has the advantage over Ferrando, the GUILLELMO. assurance of Fiordiligi's unalterable faith, give him an air of overweening security, and cause him to express himself with a lightness which he would certainly have refrained from had he known how nearly the matter affected himself. This is a truly comic situation, and Mozart has given effect to it mainly by the tone of easy merriment which he has caught so admirably, and which never passes the bounds of friendly good-humour. The air is long, singer and orchestra vying with each other in rapid animation, and the jovial, easy character of the man is fully and pleasantly expressed.[ 53 ] His intercourse with Dorabella corresponds with this view. The easy, half-jesting gallantry with which he approaches her in the duet (23) belongs to his nature, and the part he is playing is no effort to him. It is more than once made plain that Dorabella is more strongly affected than he; after she has once met his advances with favour he merely seconds her, as being pledged to do so; but he does it with the same ease and confidence that he has displayed throughout.
Mozart has shown correct judgment in making Guillelmo' a natural, good-humoured character, instead of a caricatured buffo figure. But a motive seems to have been at work here which appears throughout the whole of "Cosi fan Tutte." It is evident that Mozart has sought to clear himself from the reproach that his music was too heavy, too serious for a comic opera, and to satisfy the taste of the public for what was light and entertaining. This demand was met in the two male duets, the first (7) being light and superficial, and the second a serenade (21), which (accompanied, according to custom, only by wind instruments) follows a striking chorus with a melodious and pleasing effect, but without individual character. The same motive is even more evidently at work in the character of Despina. She never betrays a particle of true feeling. She has no sympathy COSÌ FAN TUTTE. either for her mistresses, or for their lovers, or for Don Alfonso, and she has no love affair of her own. The only visible motive of action with her is selfishness, which triumphs even over her love of intrigue; every expression of hers shows giddy thoughtlessness, not always of the most refined kind. Her two songs are both addressed to her ladies. The first (12) is in answer to Dorabella's pathetic burst of sorrow, and scoffs at her belief in the constancy of men, while urging her to reward inconstancy with inconstancy. The second (19) exhorts the still undecided fair ones to adopt coquetry as the true rule of life for the female sex. In the first air the gaiety, lightly tinged with humour in the short introductory allegretto, is light and easy, and has a forwardness about it not quite maidenly, but so pretty and winning that the whole person is invested with a certain interest and attractiveness. In the second air Despina appears as the temptress; therefore the action is more careful, the expression more delicate; insinuating persuasion takes the place of her former pertness, and the comic element only asserts itself once in the strongly accented:—
E qual regina
Dali' alto soglio
Coll posso e voglio
Farsi ubbidir.
This air reminds us in many points of Zerlina, but it serves also to prove how many touches of detail and delicate shades of musical expression are wanting when true feeling is not at the root of the conception. Spite of its commonplace tone, its lively gaiety gives it a certain charm, just as in everyday life we often meet with people commonplace in their nature, but attractive from their youthful freshness and cheerfulness. But Despina is in her element when she herself is playing some extravagant prank, and she adopts her various disguises with much boldness and gay humour. The scene where she enters as a doctor in the first finale belongs indisputably to the wittiest performances of comic music. After the long suspense, the animation caused by the entrance of the doctor has an excellent effect, and the DESPINA. boastful loquacity and solemn conceit of the charlatan stand out from the surroundings without the need of any special medium for their expression. Every phrase is pronounced simply but with telling effect; exaggeration, which at this point of the situation would only do harm, is carefully avoided, and the general impression of unclouded gaiety is heightened by the intensity with which the other characters express their feelings.[ 54 ] The notary in the second finale is quite as humorously depicted. After an elaborate greeting, the polite elegance of which is mockingly expressed by the figure in the accompaniment, given to the second violins, the notary begins to read the marriage contract in a monotone (pel naso, Mozart directs), which is the most comic imitation of reality in its five times repeated phrase—[See Page Image] twice with additional emphasis:—
The accompaniment of the violins is different for each clause (the basses remaining the same), and increases in speed, thus producing a climax provoked by the impatient exclamations of the bridal party. The whole conception of the part of Despina may be referred to the individuality of its first performer, Signora Bussani, whose reputation was COSÌ FAN TUTTE. rather for spirit and audacity than for delicacy of expression (Vol. III., p. 97). Another example of perfect gaiety is the terzet for the three male voices (16). After the angry exit of the sisters, Guillelmo and Ferrando begin to laugh,[ 55 ] thereby increasing the discomfiture of Don Alfonso, who with difficulty persuades them to desist. The merriment of the young men, the annoyance of the old one, the laughter which they vainly endeavour to suppress, are so admirably expressed, and the triplet passage of the accompaniment adds so strikingly to the effect, that we feel the same irresistible inclination to merriment that is inspired by the countenance of an antique laughing satyr.
The counterpart to Despina is Don Alfonso,[ 56 ] who displays throughout the plot no single impulse of sympathy or good-nature, and at the same time fails to inspire interest as a purely comic character. Paltry scepticism without humour or good-temper, cold rationalism without any tinge of geniality, are not attractive in themselves, and are essentially unmusical; they can only be effective by virtue of contrast, and Don Alfonso therefore appears principally in ensembles. In the first male terzet his cool demeanour stands in excellent relief against the excitement of the young men, and Mozart has given an irresistibly droll expression to the little ballad which he mockingly sings to them (2). His sympathy in the parting scene has more delicacy of characterisation; here he keeps in the background, but the quiet remarks which he interposes add just the ingredient to the melting sentiment of the ladies which is required for the production of the right effect on the audience. As a rule, however, Don Alfonso does not express his true sentiments, and his dissimulation induces an exaggeration which is not without comic effect, but requires great refinement of delivery. It belongs to the conception of such a character that he should abstain from asserting himself independently, and therefore DON ALFONSO. no grand air is assigned to him; this may be partly owing, however, to the deficiencies of the first performer, for Bus-sani does not appear to have been much of a singer.
His two most important solo pieces are purposely so arranged as to admit of an amount of sentiment which is foreign to his true character. In the first he expresses with evident exaggeration the consternation which fills him at the afflicting intelligence which he is bringing to the sisters; it is as characteristic of the person as of the situation, and expresses at once the state of excitement which prevails throughout the following scene. Of more original design is the short ensemble movement (22) in which Don Alfonso and Despina bring the two couples together.[ 57 ] By undertaking to be the mouthpiece of the bashful lovers, Don Alfonso gains an opportunity of expressing himself with more feeling, and yet his position does not admit of any very deep or serious expression on his part. The device of making the two lovers strike in like an echo is a happy one; but Da Ponte has not turned it to the advantage of which it was capable. It is quite right that Fiordiligi and Dorabella should not join in in the same way when Despina answers for them; but to leave them quite out of the question, and to make the interest of the situation centre in the by-play of Don Alfonso and Despina, destroys the significance which this scene might have had. A teasing, jesting tone predominates throughout the movement, and is indeed in keeping with the whole opera; but we long for a little more energy and fulness of expression at the more important points. In order to place Don Alfonso in the right light, he should be shown in real perplexity, and brought thereby into the COSÌ FAN TUTTE. foreground. The laughing terzet passes too quickly to make this motive effective. Besides the terzet, he has only two short movements wherein to express his views on the inconstancy of women, and these in a sort of accompanied recitative suggest very vividly his exalted and pedantic turn of mind. In the latter of the two he proceeds through a very simple but suggestive climax to point his closing moral—[See Page Image] and the converted but appeased lovers join in at his desire:—
As has already been remarked, Mozart took this phrase as the motto for his overture. It is introduced by a short andante, which, after two quick chords, begins with a tender motif for the oboe; this is interrupted by repeated chords, but starts again, whereupon first the bass, and then the full orchestra, give out the "Cosi fan tutte" as above,[ 58 ] and immediately lead into the presto which is to demonstrate the significance of the phrase. A short cursory phrase—rises in rapid crescendo for the violins through two octaves; and then all the parts, in syncopated rhythm—[See Page Image] THE OVERTURE—ENSEMBLES. seem to stop the way for some moments, only to give place to a light running passage—[See Page Image]
which the wind instruments take up by turns. These are the elements which in rapid and incessant alternation chase each other through the overture like feather balls tossed from hand to hand, until the merry game is interrupted by the phrase which gave birth to it: "Cosi fan tutte!" Again the crescendo rises to its highest pitch, and closes with a few powerful chords. The gay and wanton tone of the opera could scarcely be better suggested, the overture being in very truth the most perfect expression of careless gaiety. In the clear flow of its lively frolic we see some resemblance to the overture to "Figaro," but the deep, fine feeling which shines through the tumult of the earlier work would be out of place, and may be sought for in vain in the overture before us.
The characters presented to us in this opera lend themselves best to musical treatment when they join in ensemble pieces.[ 59 ] The definite situations give strength to the characterisation, which is further aided by the contrast of the persons concerned; and the dramatic motive adds variety and energy of expression. The sestet in the first act (13) is very simple in design, but effective from its well-placed contrasts and judicious climax. The introduction of the friends has a marchlike character. Don Alfonso recommends them to Despina's favour, and they add more lively entreaties, in accordance with their assumed characters; Despina's mirth COSÌ FAN TUTTE. is excited by the extraordinary figures before her, while they are delighted to find that she does not recognise them.
