“How eagerly Capraja, with his passion for embellishments, must have looked forward to this air, which derives all its value from execution,” remarked Massimilla. “Here Rossini has, so to speak, given the reins over to the singer’s fancy. Her _cadenzas_ and her feeling are everything. With a poor voice or inferior execution, it would be nothing--the throat is responsible for the effects of this _aria_. “The singer has to express the most intense anguish,--that of a woman who sees her lover dying before her very eyes. La Tinti makes the house ring with her highest notes; and Rossini, to leave pure singing free to do its utmost, has written it in the simplest, clearest style. Then, as a crowning effort, he has composed those heartrending musical cries: _Tormenti! Affanni! Smanie!_ What grief, what anguish, in those runs. And la Tinti, you see, has quite carried the house off its feet.” The Frenchman, bewildered by this adoring admiration throughout a vast theatre for the source of its delight, here had a glimpse of genuine Italian nature. But neither the Duchess nor the two young men paid any attention to the ovation. Clarina began again. The Duchess feared that she was seeing her Emilio for the last time. As to the Prince: in the presence of the Duchess, the sovereign divinity who lifted him to the skies, he had forgotten where he was, he no longer heard the voice of the woman who had initiated him into the mysteries of earthly pleasure, for deep dejection made his ears tingle with a chorus of plaintive voices, half-drowned in a rushing noise as of pouring rain. Vendramin saw himself in an ancient Venetian costume, looking on at the ceremony of the _Bucentaur_. The Frenchman, who plainly discerned that some strange and painful mystery stood between the Prince and the Duchess, was racking his brain with shrewd conjecture to discover what it could be. The scene had changed. In front of a fine picture, representing the Desert and the Red Sea, the Egyptians and Hebrews marched and countermarched without any effect on the feelings of the four persons in the Duchess’ box. But when the first chords on the harps preluded the hymn of the delivered Israelites, the Prince and Vendramin rose and stood leaning against the opposite sides of the box, and the Duchess, resting her elbow on the velvet ledge, supported her head on her left hand. The Frenchman, understanding from this little stir, how important this justly famous chorus was in the opinion of the house, listened with devout attention. The audience, with one accord, shouted for its repetition. “I feel as if I were celebrating the liberation of Italy,” thought a Milanese. “Such music lifts up bowed heads, and revives hope in the most torpid,” said a man from the Romagna.