The scene which precedes the close of the first act deserves special notice; it is both conceived and executed with true dramatic force. In a hall (atrium), decorated with the trophies of his ancestors, Cecilio awaits in the twilight the coming of Junia. The varied emotions roused in him by the contemplation of the graves of departed heroes, and the yearnings of love, are graphically expressed in an accompanied recitative. Junia appears, escorted by noble Romans of both sexes. The chorus calling on the spirits of the heroes for support and vengeance is serious to solemnity, with striking harmonies and an independent treatment of parts, giving animation to the whole--an altogether excellent piece of music, with much dramatic effect. Junia joins in with a prayer to the shade of her father. The pain of a proud, strong spirit is expressed in a simple and dignified adagio, which gives a fine soprano voice full scope for the display of its capabilities. The prayer is followed by a curse pronounced on Silla by the chorus, powerful and animated, and a fitting close to this truly dramatic musical scene. A resemblance to the first chorus in Gluck's "Orfeo," pointed out by Sonnleithner, is too slight to be considered more than a mere suggestion. Among the secondary parts that of Celia has the most independence of character. Her two first songs (3 and 10) are, on the whole, simple and graceful, especially the second. Passages in Cinna's three songs (1, 12, 20) and in the air for the second tenor, Aufidio, are calculated to display the powers of the artists, but the songs, as a whole, have little or no individuality. There are two choruses besides that which we have noted, but neither of them are so impressive. In the second act Silla's appearance on the capitol is greeted by a chorus which {MOZART'S EARLY OPERAS.} (184) is powerful, and supported by a running accompaniment. The last act is brought to a conclusion by a chorus, alternating with the solo voices, but the movement is unimportant. The overture consists of the usual three movements (Molto allegro 4-4, Andante 2-4, Molto allegro 3-8), and pretends to no connection with the opera itself, being altogether after the ordinary pattern. The treatment of the orchestra is not unusual. Trumpets are frequently used, and sometimes kettledrums; but this is of little moment--more interesting is the fact that the wind instruments are often freer and less subordinate to the strings than usual. An attempt is evident to render the accompaniment full and lively; the second violins have characteristic and occasionally imitative passages. But these are merely attempts; the influence of the traditional form overpowers all endeavours after a freer method; it displays itself in many mechanical habits, as, for instance, in the harmonic turn which almost invariably precedes the singers' cadenzas:--[See Page Image]