In the part of Cecilio, written for Rauzzini, the regard paid to the singer is very apparent both in the compass of the voice, which comprises two octaves, and in the style. He was what may be called a scholarly singer, theoretically educated, and a composer himself, and difficulties are introduced evidently with a view to this. Thus, for instance, the recitative preceding his second aria is full of curious, sometimes harsh, turns and transitions in the harmonies; in the third aria such jumps as the following occur--[See Page Image] requiring no small certainty of execution. The first song (2), introduced by a fine expressive recitative, begins, as these male sopranos loved, with a long-sustained note, and'contains various brilliant passages; but it is quite without original invention. The second song (9) expresses a proud, free mood with strength and animation; the last (21) can only be explained as a freak of the performer. Cecilio, in the act of being led to execution, moved by Junia's tears, turns to her with the words-- Pupille amate Non lagrimate! These tender, trifling words, are treated by Mozart with an exquisite grace which is quite foreign to the character and the situation of Cecilio, and, as Sonnleithner observes, would be much more suitable to a soubrette. Probably Rauzzini chose this way of ingratiating himself with the public. Besides the solo songs the opera contains a duet for J unia and Cecilio, and a terzet for the same and Silla, which are cleverly constructed, but not otherwise remarkable. The duet (7) consists of an andante and a somewhat tedious allegro, in which the voices go together for the most part in thirds or sixths, with little attempt at imitation. The terzet {"LUCIO SILLA"--ENSEMBLES.} (183) is well conceived. Each of the three voices has a characteristic motif, which is not elaborated, but set in contrast with the others; afterwards the lovers are set in opposition to Silla, and the expression is heightened by occasional use of the three voices together; in short, some traces are here discernible of the talent for musical architecture which Mozart afterwards displayed is so remarkable a degree.