The sensual element of love plays far too great a part in "Figaro," however, to be altogether disregarded in its musical rendering. It would be a difficult matter to determine how far and in what way music is capable of giving artistic expression to this side of the tender passion; but it cannot be disputed that Mozart has in this respect competed successfully with the sister arts of painting and poetry. In Susanna's so-called garden air (Act IV., 5) her longing for her betrothed is expressed with all the tender intensity of purest beauty; but the simple notes, cradled as it were in blissful calm, that seem to be breathed forth "soft as the balmy breath of eve," glow with a mild warmth that stirs the heart to its depth, entrancing the mind, and intoxicating the senses like the song of the nightingale. The _pizzicato_ accompaniment of the air fitly suggests a serenade. It gives the voice free scope, and the sparely introduced wind instruments, as well as the tender passage for the first violin towards the close, only serve to give a finer emphasis to the {LE NOZZE DI FIGARO.} (92) full body of the voice. The impression of longing delight is intensified by the simplicity of the harmonies, as if from fear of disturbing by any sudden change the calm bliss of the passing moment. But what analysis can penetrate these mysteries of creative genius[19] Mozart was right to let the feelings of the loving maiden shine forth in all their depth and purity, for Susanna has none but her Figaro in her mind, and the sentiments she expresses are her true ones. Figaro in his hiding-place, listening and suspecting her of waiting the Count's arrival, throws, a cross light on the situation, which, however, only receives its full dramatic signification by reason of the truth of Susanna's expression of feeling. Susanna, without her sensual charm is inconceivable, and a tinge of sensuality is an essential element of her nature; but Mozart has transfigured it into a noble purity which may fitly be compared with the grandest achievements of Greek sculpture. Nancy Storace (1761-1814), "who possessed in a degree unique at that time, and rare at any time, all the gifts, the cultivation, and the skill which could be desired for Italian comic opera,"[20] seems to have been a singer to whom Mozart was able to intrust the rendering of this mixture of sentiment and sensuality. When "Figaro" was reproduced in July, 1789, he wrote for Adriana Ferrarese del Bene,[21] a less refined and finished singer, the air "Al desio di chi t'adora" (577 K.), retaining the {RONDO FOR SUSANNA.} (93) accompanied recitative.[22] The words of this song--