All the more stress is laid on the parts of De Amicis and Rauzzini. Junia has four songs, which are all for a singer of the first rank. The special bravura song (II) is in the second act, "Ah, se il crudel periglio del caro ben ramento." Long passages of varied structure are here the chief considerations. One example among many will serve to show that Mozart was right in afterwards calling them "dreadful":--[See Page Image] Notwithstanding the bravura character of this song, its style is far from well defined; that of the entering song, "Della sponde tenebrose" (4), and of the third aria (16) is more marked. This last, "Parto, m' affretto, ma nel partire il cor si spezza, mi manca la anima," consists of a continuous and progressive allegro assai. An agitated phrase for the first violins--supported by an accompaniment for the second, runs through it almost without intermission; the harmonising is interesting {"LUCIO SILLA"--JUNIA.} (181) and varied; particularly effective is the immediate juxtaposition of major and minor keys; the whole song is strikingly expressive of an unsettled wavering mood. Passages such as--[See Page Image] are brilliant, but not, properly speaking, characteristic. At least they do not stamp the actual situation with individuality; they seem designed only to define the character and mood of the acting personage in their main features, like the masks of ancient tragedy. The more detailed analysis was left to the art and individuality of the performer, to whom the composer offered only the means of combining dramatic force with song. We can still recognise the essential features of the characters; but we are quite unable to realise either the animation with which great artists inspired them, or the effect they produced on the minds of contemporaries. It is a mistake to consider bravura and character as opposite terms; ornamental passages are quite susceptible of characteristic expression, if they are delivered at the right time and in the right way. Junia's songs express the character of a proud strong Roman woman, and an opportunity for dramatic analysis is offered to the performer even in the more florid songs. But the true dramatic expression is undisturbed in Junia's last song (22), "Fra i pensier più funesti di morte veder parmi l' esangue consorte." The long adagio, followed by an allegro, is a distinct foreshadowing of the later form. The treatment of the orchestra too is significant. The flutes, oboes, and bassoons are in unison, and contrast with the stringed instruments, after a fashion not usual at the time: and in the allegro the orchestra is in significant opposition to the voice part, which is simple and unadorned, although calculated to give due effect to a fine voice; its dramatic expression is quite excellent. {MOZART'S EARLY OPERAS.} (182)