As we have already observed, this air was taken, with slight modifications, and with the omission of the middle movement in G minor, and of the Da capo, from Mozart's earlier oratorio (p. 55). This species of borrowing was common enough at the time, but Mozart never made use of it except in this instance; his having done so here proves how strongly the young composer himself felt the beauty of his music. Polidoro's air in the second act (17) has far more of dramatic energy. Rosine, insulted by Cassandro, bursts into tears; Polidoro, indignant with his brother, but more than half-frightened at his own temerity, seeks to console her. The contrast between his strong feeling of attraction to Rosine and the effort which he makes to overcome his fear of his brother is well marked by modulations of time and measure, and by the instrumentation; the accelerated part has much of the ordinary buffo character. Next to Polidoro we may rank Rosine. The part was publicly announced for Clementine Baglioni, whose voice "had a silvery tone, was as easy and fluent as could be desired, and carried admirably"; she sang "without audacity and correctly; her gestures were easy and becoming."[22] "The same simplicity and truthfulness of expression is observable here as in the part of Polidoro. The first song (6) in which she undertakes to show-- Che si puö senza rossore Gradir tutti ed un solo amar, is fresh and lively, and the passages are so natural and graceful, that even in the present day it does not sound {ROSINE, CASSANDRO.} (79) antiquated. The first part of the second song (9) is especially beautiful, and the principal melody reminds us, in dignity and expression, of the Countess in "Figaro." The words-- Senti I' eco, ove t' aggiri, Susurrar tra fiori e fronde Ma se gridi, o se sospiri Quello sol 1' eco risponde, Che ti sente à ragionar. give opportunity for descriptive music, the _susurrar_ being expressed by a phrase for the violins, while a solo oboe enacts the part of Echo, repeating the end of each phrase. But this trifling is kept in the background, and does not in the least interfere with the tender character of the air. The second part (Allegro grazioso, 3-4), although light and cheerful, does not approach the first in originality and depth. The cavatina in the second act (15) expresses a simple, fervent emotion in a beautiful melody; the whole piece, both in design and execution, shows Mozart's manner most unmistakably; and is marked by a certain individuality of conception which transcends all technical readiness and skill. On the other hand, the song (17) which Rosine sings in her _rôle_ of affected simplicity, is cheerful and fresh, but not particularly striking.