so prominently forward as in this ensemble. It consists in the art of making each character express himself naturally and appropriately, at the same time rendering the due meaning of the situation and throwing the right light on every separate utterance, while giving the whole a brighter colouring. As soon as Figaro and Susanna are opposed to each other, the tone and style are altered. Serious genuine feeling breaks through the mask of deception, and asserts its sway. Not until the Count enters does the trickery begin again, leading to a succession of surprises which find their climax in the appearance of the Countess. The music renders so bewitchingly the impression of her pardoning gentleness and amiability that we are forced to believe in the sincerity of the reconciliation, and to share in the rejoicings which follow on so many troublous events.[38] Next to these two finales a prominent position is assigned to the sestet (Act III., 3) which according to Kelly was Mozart's favourite piece in the whole opera.[39] This partiality is characteristic, for his amiable nature finds fuller expression in this piece than in any other. The trial scene is omitted in the opera, but the recognition of Figaro by Marcellina and Bartolo is brought into the foreground. The cool sarcastic tone of Beaumarchais gives this scene something unpleasant; but the musical version even here allows human sentiment to assert itself; if it were not for the extraordinary circumstances on which the scene is founded it would be quite pathetic. Both the parents and the son are in the act of expressing the tenderest affection and delight when Susanna hastens in to redeem Figaro. The violence with which she manifests her anger at Figaro's apparent want of constancy is meant quite seriously, and is necessary in order to show how deeply her heart is affected. Amid the caresses of her supposed rival she learns the truth, the charming melody to which Marçellina had made herself known to her {THE SESTET.} (107)