As regards the dramatic force and reality of the situations, especially in the ensembles, "Figaro" has the advantage over "Don Giovanni." The introduction to the first act is admirably planned, both musically and dramatically; in the quartet (Act I., 8) and terzet (Act II., 2) the situation and prevailing tone are simple, but well chosen and sustained; and the idea of giving Don Giovanni and Leporello a share in Elvira's first air (Act I., 3), is productive of excellent effect. The sestet (Act II., 6), on the other hand, is very loosely put together; the characters are grouped round Leporello suitably enough, it is true, but their encounter is not the natural result of the situation, and the climax is a purely external one. The finales in "Don Giovanni" are indeed far superior to the ordinary run, which even in good operas often consist of loosely strung scenes which might just as well be spoken as sung, but they are inferior to the well-combined, consistent* development of the plot which delights us in the finales in "Figaro." The first finale begins in lively style with the quarrel between Masetto, whose jealously is newly awakened, and the terrified Zerlina, who seeks to avoid an outbreak. The insidious ever-recurring motif for both voice and orchestra--[See Page Image] in contrast with the quickly uttered notes and sharp accents of anger, is highly expressive of suspicion. Suggestive in another way are the beating notes for the trumpets-- which are interposed in Masetto's speech, and afterwards taken up by the flutes-- {FIRST FINALE.} (207) when Zerlina asserts herself, rising gradually to impatient quavers for the violin--[See Page Image]