The counterpart to Despina is Don Alfonso,[56] who displays throughout the plot no single impulse of sympathy or good-nature, and at the same time fails to inspire interest as a purely comic character. Paltry scepticism without humour or good-temper, cold rationalism without any tinge of geniality, are not attractive in themselves, and are essentially unmusical; they can only be effective by virtue of contrast, and Don Alfonso therefore appears principally in ensembles. In the first male terzet his cool demeanour stands in excellent relief against the excitement of the young men, and Mozart has given an irresistibly droll expression to the little ballad which he mockingly sings to them (2). His sympathy in the parting scene has more delicacy of characterisation; here he keeps in the background, but the quiet remarks which he interposes add just the ingredient to the melting sentiment of the ladies which is required for the production of the right effect on the audience. As a rule, however, Don Alfonso does not express his true sentiments, and his dissimulation induces an exaggeration which is not without comic effect, but requires great refinement of delivery. It belongs to the conception of such a character that he should abstain from asserting himself independently, and therefore {DON ALFONSO.} (265) no grand air is assigned to him; this may be partly owing, however, to the deficiencies of the first performer, for Bus-sani does not appear to have been much of a singer. His two most important solo pieces are purposely so arranged as to admit of an amount of sentiment which is foreign to his true character. In the first he expresses with evident exaggeration the consternation which fills him at the afflicting intelligence which he is bringing to the sisters; it is as characteristic of the person as of the situation, and expresses at once the state of excitement which prevails throughout the following scene. Of more original design is the short ensemble movement (22) in which Don Alfonso and Despina bring the two couples together.[57] By undertaking to be the mouthpiece of the bashful lovers, Don Alfonso gains an opportunity of expressing himself with more feeling, and yet his position does not admit of any very deep or serious expression on his part. The device of making the two lovers strike in like an echo is a happy one; but Da Ponte has not turned it to the advantage of which it was capable. It is quite right that Fiordiligi and Dorabella should not join in in the same way when Despina answers for them; but to leave them quite out of the question, and to make the interest of the situation centre in the by-play of Don Alfonso and Despina, destroys the significance which this scene might have had. A teasing, jesting tone predominates throughout the movement, and is indeed in keeping with the whole opera; but we long for a little more energy and fulness of expression at the more important points. In order