of remorse, and of newly strengthened fidelity which the memory of her absent lover inspires, is charmingly expressed in the lovely air (25), "Per pietà, ben mio, perdona." This is genuine emotion, springing from the heart, and the music expresses it with all the charm of pure melody. This important air, in two elaborate movements--adagio and allegro--gives ample opportunity for display to the singer and an independent part to the wind instruments, especially the horns, without doing injury to truth of expression. It is undeniably akin to the great air in "Figaro" (p. 92) composed for the same Ferraresi, although they differ both in tone and colouring. Probably the individuality of the singer, distinctly recognisable in the three songs, exerted considerable influence over their composition; and it may also be remarked that too vivid a representation of such a mood as this would have exceeded the limits of opera buffa; even as it is it suggests almost too serious a complication and solution of the situation. Ferrando, on learning the faithlessness of his Dorabella, breaks at first into violent indignation; but this soon gives way to softer feelings, which he cannot overcome. In his lovely cavatina (27)--so Mozart has entitled it--his anger is only faintly suggested, while the memory of his still-loved Dorabella shines forth from the darkness of the soul.[50] While he is yet in this sentimental mood he is urged by Don Alfonso to make one more attack upon Fiordiligi's heart. With this intent, he surprises her in the act of putting into effect her romantic determination to escape from her own weakness by donning man's attire and following her lover to the wars. The duet which ensues (29) is of singular design and unusually rich elaboration. In contrast with Fiordiligi's grandiloquent sentiments, as she fancies herself again by the side of her lover, comes the melancholy plaint, the urgent petition of Ferrando; her resistance grows weaker as his entreaties grow more earnest--until at last she sinks into {FERRANDO--GUILLELMO.} (257) his arms. This scene consists of a regularly worked-out duet in two movements, but the long suspense requires a corresponding length of reaction from it, and we have to all intents and purposes a second duet, with two movements expressive of the happiness of the lovers. Here again the expression of feeling is so direct and true that we cannot but imagine Ferrando carried away by the impulse of the moment. In fact, these two characters and their relations to each other are somewhat out of keeping with the rest of the opera. Da Ponte failed in giving due effect to the deeper psychological interest of the characters; Mozart has clothed them in flesh and blood, but even he has failed to endow them with the distinct and vivid personality which is to be found in "Figaro" and "Don Giovanni."