The two festival operas composed in 1771 and 1772 belong in essentials to the opera seria, but were subject to certain special rules. The festa (azione) teatrale, also called serenata, were arranged with immediate reference to the person in whose honour they were given. They were usually also allegorical, the advantage of this kind of poetry being that it was capable of expressing more or less open flattery. A pastoral character was almost always given to the treatment of the old myths, so that the dramatic element was thrown into the background, and the brilliancy of the entertainment was left to depend principally on the magnificent costumes and scenery. The musical treatment became more openly and unreservedly undramatic, and the composer was satisfied with affording a means of display to the singers. The serenata was in the traditional three acts, but not bound by the scenic divisions of the opera {"ASCANIO IN ALBA," 1771.} (185) seria; as it originally served as an interlude to other festivities, it was usually also shorter. As a rule, it was only performed once; and took the second rank after the opera seria.[4] It was on this account that the festival piece was intrusted to young Mozart, the opera to Hasse. In "Ascanio in Alba" (111 K.) Parini[5] had endeavoured to produce a work worthy of a festivity such as the marriage of the Archduke Ferdinand with the Duchess Marie Beatrice d'Este. Divinities, heroes, and shepherds form the dramatis persona, and there are abundant choruses, ballets, and spectacular effects, with no lack of flattering by-play. The programme will serve to show what distinguished artists[6] were engaged to represent this piece:--[See Page Image] Venus, preceded and accompanied by a chorus of genü and graces, descends from heaven with her grandson Ascanio, and informs him that she desires to unite him with Silvia, a lovely and virtuous nymph of this her beloved land. Silvia is of the race of Hercules, and Cupid having caused her to see Ascanio in a vision, she already glows with secret love for him. Ascanio is filled with joy, and being counselled by Venus to prove Silvia's constancy before declaring himself to her, he expresses impatience at this postponement of his happiness. Fauno comes to the sacrifice with a chorus of shepherds, and reverently extols the goodness of Venus to the country and the people. Silvia then draws near, accompanied by Aceste and a chorus of nymphs and shepherds. The priest Aceste informs Silvia, whom he has brought up, that Venus herself intends to unite her to Ascanio, and to found a new city with their progeny, and expresses his {MOZART'S EARLY OPERAS.} (186)