music makes you instantly clairvoyant to the whole of them; you do not have to wait for one after the other to speak; there is a sort of song-transparency of all at once; the common chord of all their individualities is struck. Especially is this achieved in the concerted pieces, the quartettes, trios, and so forth, of Mozart, which are beyond comparison with most of those in the Italian opera of the day, since the harmony in them is not the mere coloring of one thought, but the interweaving of so many distinct individualities. Zerlina is saved, but by arrangement with her protectors agrees to go up to the Don’s palace, whither Leporello has conducted the whole wedding party, and even coaxed along the jealous bridegroom. A scene ensues between Donna Anna and her lover. The orchestra, in a few startling and almost discordant shrieks, indicates the intense excitement of her mind, for, as Don Juan took his leave, she recognized the look and voice of one whom she had too much cause to remember; and in impassioned bursts of hurried recitative, alternating with the said spasmodic bits of instrumentation, she exclaims, _Quegli è il carnefice del mio padre_, (this man is my father’s murderer,) and in the same grandly lyric style, rising higher and higher, she tells Ottavio the story of her outrage. Having reached the climax, this magnificent recitative becomes melody, and completes itself in the sublime Aria, _Or tu sai_, “Now thou knowest who attempted my honor,” etc. There can be nothing greater, more Minerva-like in dignity and high expression of the soul of justice outraged, and at the same time full of all feminine tenderness and beauty, in the whole range of opera or drama. And it is Music, it is Mozart that has done it all. We have here the character of Donna Anna in its most sublime expression; a character that transcends mere personal relations, that bears a certain mystical relationship with the higher power beginning to be felt in the development of this human history. In this song she rises, as it were, to the dignity of an impersonation of the moral principle in the play, and this high sentiment of hers is like a foretaste of the coming fate and supernatural grandeur, which are to form the never to be forgotten finale of the piece. Elvira is entirely in the sphere of the personal; she _loves_ Don Juan to the last, and like the simple good humanity that still appeals to him though still rejected. But Anna is superhuman and divine; she reveals the interworking of the Infinite in all these finite human affairs; to Heaven, rather than to Ottavio, is her appeal; and from beyond this life she looks to see the vindicator of her cause appear. The loftiness of the music just considered, and the stately trumpet-tones of the orchestra, which always herald the entrance of Donna Anna and her party, connect her unmistakably with the marvelous elements of the drama; she is Feeling prophesying Justice; she is Faith in the form of woman; and