Should it be objected that the milk-and-water heroism of the piece is still further debased by gallantry in powder and gold lace, we can nevertheless claim for it, after all deductions made, a certain amount of stateliness and dignity. These qualities are indeed displayed more according to court etiquette than to classical antiquity, but they are unmistakably there, conformably to the manners of the time and the nation, and their artistic significance is not small. Mithridates, who has most of individual character after Aspasia, never forgets, as Sonnleithner justly observes, that he is first tenor as well as king; but on the other hand he always remembers that he is king as well as first tenor. {MOZART'S EARLY OPERAS.} (178) The text of the opera "Lucio Silla," composed in 1772 (135 K.), was written by Giovanni da Camera, and according to the preface, revised by Metastasio. The programme runs:--[See Page Image] Cecilio, a senator, banished by Silla, has secretly returned to Rome to learn the fate of his betrothed Junia, daughter of C. Marius; his friend Cinna warns him that Silla has spread the rumour of his death in order to win the hand of Junia; Cinna counsels him to meet her in a burial-place. Silla, whose suit has been repulsed by Junia, resolves to slay her. Cecilio awaits his betrothed in the dusky burial-place, surrounded by the trophies of Roman heroes. She enters, accompanied by noble youths and maidens, who call for vengeance on Silla, and lament by the urn of her father. When she is alone, Cecilio reveals himself. She takes him at first for a ghost, and they then express their joy in a duet. In the second act Aufidio, Silla's evil counsellor, advises him publicly to declare Junia as his betrothed, and thereby reconcile the contending factions; she will not be able to oppose the universal wish. Celia, his sister, who always counsels well, informs him of the ill-success of her appeal to Junia; he promises to unite Celia to her lover Cinna. Silla has scarcely departed, when Cecilio rushes in to murder him in obedience to a vision; Cinna counsels postponement, to which Cecilio at last consents. Ciàna is now so engrossed in his plans for revenge that he scarcely heeds Celia, who tells him of their approaching happiness, and tries to persuade Junia to a feigned submission, and the murder of Silla in his bed-chamber. But she refuses to be guilty of high treason, and he resolves to slay Silla himself. Junia, who declares that she will never give her hand to Silla, is threatened with death, but nevertheless counsels Cecilio, who wishes to avenge her, to remain in concealment. Celia seeks in vain to persuade her by the portrayal of her own happiness, but cannot stifle gloomy {"LUCIO SILLA."} (179)