The part of Cassandro is not on a par with the two we have been considering. Caratoli, for whom it was written was past his best days as a singer, but he was an excellent actor, and "knew how to dispense in some measure with singing"; he generally played old men, and his desire to please the multitude led him into occasional extravagances.[23] His part is specially adapted to the peculiarities of the Italian buffo; it contains rapid declamation, well-applied pauses, strong contrasts, and other similar conventional effects; but not much original conception of {THE FIRST OPERA IN VIENNA.} (80) comic character. In one song, indeed, we have a clever expression given to the not over-refined words:-- E son come un can barbone, Frà la carne ed il bastone, Vorrei stender lo zampino E al baston più m' avvicino E abbaiando, mugilando Piglio il porco e me ne vö. [See Page Image] {CASSANDRO.} (8l) [See Page Image] We must not indeed compare such jesting as this, however it may have been applauded at the time, with the delicate humour of Figaro. The composer is not at his best; but much of the blame lies at the door of the poet who wrote such trash, and of the performer who would accept only slight indications of the music to be sung, that he might win applause by his own elaboration of it. But youthful inexperience and ignorance of the minds of men must also naturally have narrowed the boy's ideas. It is a sufficient proof of his thoroughly artistic nature that his fun was exempt from childish extravagance. The two pairs of lovers are not of equal prominence. The somewhat timid and indolent Giacinta is a difficult subject for musical representation. In her first song she declares(3)-- Mari to io vorrei, ma senza fatica, Averlo, se commoda, lasciarlo, se intrica; {THE FIRST OPERA IN VIENNA.} (82) the husband is to be-- Un uoroo d' ingegno Ma fatto di legno. This is not exactly the state of mind for a prima donna. The music that she sings is harmonious and pleasing, but, with the exception of a happy turn here and there, not above the average. Only the song in the third act (24) expresses dismay at the pretended flight with a tragic pathos, which, though of course exaggerated, is well sustained, both by the voice and the accompaniment. The conception of this part was doubtless influenced by the individuality of the singer for whom it was written. According to Sonnenfels this was Signora Eberhardi. "She has an agreeable contralto voice, and a style which pleases universally. Her shakes certainly degenerate sometimes into a quake, and if the tempo is taken very fast she fails to keep pace with it. In her acting she suffers the natural to pass into the artificial, and her conventional gestures are often constrained."[24]