Now for the terzet which concludes the first act. Pedrillo has represented his master as an architect, which affords him an opportunity of meeting his Constanze in the garden. The Pasha has taken him into his service; and Osmin, as overseer, and knowing nothing of this, is insolent to him as a stranger, being himself an unmannerly churl and the arch-enemy of all strangers, and refuses to allow him to enter the garden. The first movement is short, and as the words allowed of it I {DIE ENTFÜHRUNG AUS DEM SERAIL.} (242) have kept the three voices fairly well together; but then begins the major _pianissimo_, which must go very fast, and the conclusion will draw many tears, which is just what the conclusion of a first act should do; the more tears the better--but the shorter the better, so that the audience may not forget the applause. We see from this that Mozart thought more in this instance of a vivid expression of the situation than of minute characterisation, and all the three characters are alike in their urging and scolding. The advisability, therefore, of keeping the three voices "fairly well" together, their imitative arrangement keeping up the impression of great excitement, is indicated by the situation, although, owing to the necessity for stricter attention to form, the individual characterisation is thereby limited. Osmin's last appearance in the finale is very amusing. While all the other characters are expressing their gratitude, in the favourite form of a round, Osmin tries in vain to keep in the same track; but the round sticks in his throat, and his angry spite will have vent; the hunting-song of the first act with the obbligato janizaries' music rushes once more past our ears. Although some elements borrowed from the conventional forms of the Italian bass buffo are discernible in the part of Osmin, yet Mozart has made use of them in such an entirely original manner that they are closely interwoven in his own creation. It is, however, the consistency of the individual characterisation which distinguishes the part of Osmin and raises it far above the ordinary buffo parts, causing it to afford a striking instance of Mozart's eminent talent for dramatic construction. The part requires a performer such as Fischer, of whom Reichardt writes: "He is an excellent bass singer; his voice has the depth of a violoncello, and the height of an ordinary tenor; its compass is--[See Page Image] so that his deep notes are never harsh, nor his high ones shrill; his voice flows with ease and certainty, and is full of charm. In praise of his style I need only say that he is a {FISCHER.} (243) worthy pupil of the great tenor Raaff, who was, and still is considered, the best tenor in all Europe. Fischer has a more flexible organ than perhaps any other bass singer, and his acting is as good in serious drama as in comic."