sacrificing to this object either musical beauty or dramatic force. At times the dramatic situations in Mozart's early operas are true and even striking; but the dramatic element yields on the whole to execution and euphony. It must not be overlooked that the apprehension of dramatic truth and character varies with different times and different nations, and that the genius of first-rate artists could inspire life into what now appears a lifeless assemblage of notes. But it must at the same time be allowed that Mozart's operas of this period come under the influence of a taste perverted in many respects, which the youthful master had not yet overcome; and his forced compliance with many purely conventional demands must of necessity have left traces on his work as deep and lasting as those of his creative genius. The opera of "Mitridate, Re di Ponto" (87 K.) was first adapted from Racine by the Abbé Parini, and revised by Vitt. Am. Cigna-Santi. The dramatis persona are as follows:--[See Page Image] On the news of the death of Mithridates the inhabitants of Nymphæa deliver up the keys of the town to his son Sifares. Aspasia seeks his protection against the suit of his brother Pharaaces, thereby betraying her partiality for Sifares, which he secretly returns. Pharaaces attempts to force his hand on Aspasia, whereupon Sifares throws himself between them; Arbates separates the contending brothers with {MOZART'S EARLY OPERAS.} (174) the news of the landing of Mithridates; they are reconciled, and agree to keep secret from their father what has passed. Marzio promises to the ambitious Phamaces the help of the Romans against his father. Mithridates enters, proud and courageous in spite of the defeat he has just suffered, and is received by his sons; he introduces to Pharnaces his destined bride Ismene, who regards Pharnaces with little favour. The demeanour of his sons awakens the suspicions of Mithridates, and on Arbates revealing to him the passion of Pharnaces for Aspasia, he falls into an extravagant rage. Pharnaces acknowledges to Ismene that he no longer loves her; whereat, wounded alike in her pride and her love, she complains to Mithridates. The latter resolves to punish him, and suspecting from Aspasia's cold demeanour towards himself that she returns the love of Pharnaces, he sets Sifares to watch her. The lovers of course now come to an understanding, but Aspasia virtuously commands Sifares to leave her for ever to the fulfilment of her duty.