No doubt the idiosyncrasies of the performers, who were for the most part more of singers than actors, and had apparently not much talent for comedy, had considerable influence on the plan of the piece;[51] the part of Guillelmo was written for the excellent buffo Benucci (Vol. III., pp. 51, SS).[52] He first comes forward independently, when, in his disguise as an Albanian, his first attack has been repulsed and, Fiordiligi having expressed her haughty indignation, he boldly ventures on a fresh declaration of love. Here he had originally an air (584 K.) of the most decided buffo type, which opposed to the exaggerated pathos of Fiordiligi an extravagance of a different kind, and expressed in strong caricature the confidence of the new wooers in the ultimate success of their (To Fiordiligi.) Rivolgete à lui lo sguardo E vedete come stà; Tutto dice, io gelo, io ardo, Idol mio, pietà, pietà. {COSÌ FAN TUTTE.} (258) (To Dorabella.) E voi, cara, un sol momento Il bel ciglio à me volgete, E nel mio ritroverete Quel che il labbro dir non sà. Un Orlando innamorato Non è niente in mio confronto, Un Medoro il sen piagato Verso lui per nullo io conto. Son di foco i miei sospiri, Son di bronzo i suoi desiri. Se si parla poi di merto, Certo io son ed egli è certo, Che gli uguali non si trovano Da Vienna al Canadà. Siam due Cresi per richezza; Due Narcissi per bellezza; In amori i Marcantoni Verso noi sarian buffoni; Siam più forti d'un Ciclopo, Letterati al par di Esopo; Se balliam, il Pick ne cede, Si gentil e snello è il piede, Se cantiam, col trillo solo Facciam torto al uscignolo, E qualche altro capitale Abbiam poi, che alcun non sà. Mozart has turned this into a comic air in the grand style, worthy to rank with those of Leporello, although the delicate malice which characterises the latter would be out of place here. The various points, not only where the mention of dancing and singing suggest musical freaks, but throughout, are made effective in the happiest musical contrasts, without disturbing the flow and consistency of the whole song. Towards the close especially, the climax is inimitable. After the transition into D minor on "trillo" and "uscignolo"--[See Page Image] {GUILLELMO'S AIR.} (259) the wind instruments sound a mocking fanfare to the violin quavers on "qualch' altro capitale"--[See Page Image] {COSÌ FAN TUTTE.} (260) whereupon Guillelmo, after the exit of the sisters, breaks out with the whole strength of his voice into a triumphant allegro molto--[See Page Image]