Mozart's introduction to "Figaro" first introduces the air by the orchestra, then transcribed for the solo voice and finally sung by the chorus. The melody of his "Zitti Zitti" trio was take I from Hayden's "Seasons". He has adapted also an air from a Russian dance to aid in the dramatic effect. He reached the highest perfection of expression of melody with the strings, woodwinds and voice. His librettos are weak, however, although he rewrote the less important ones himself. His recitative is barren, for in his operas one had only to sing beautifully, while in Wagner one must declaim beautifully. Mozart knew music as the art of expression and gave this in its fullest sense to airs, duets and ensemble pieces, yet he left opera forms as he found them. He spoke of and depicted scenes, animals, etc. in his music. "Magic Flute" is a primma donna opera. Mozart considered first music, then the book and lastly the performance. In "Figaro" the psychological handling of the characters is unconvincing. He has applied one invariable musical formula to every character. He repeats one or two chords ad infinitum in the orchestra. The voice trips along on top of these in semi speed. He sanctioned formulas for cadences used in every situation. Even in "Don Giovanni" the formulas for the cadences are used in this manner. He uses the same method for light scenes as well as tragic situations, depicting indignant heroines and chorus in the same manner. He was more musical but he did not realize the dramatic situations. Bellini was a pure melodist, but his instrumentation was faulty, and he objected to ornamentation. The French opera helps to develop the tendency of individual expression while the German crushes it in striving for a whole general effect. Rameau's "Hyppolyte et Aricie" is the most highly developed study of character. Lulli's work is an amplification of Ramean's work. He combined simplicity, natural melody and dramatic intentions. He developed his attention to the orchestra, and employed the chorus as an integral factor in the situation. He invented the overture using a slow movement, followed by a quick fugal style with the third division, a short dance. He developed the style of the French ballet. Both he and Ramean considered accompanied recitative a matter of more importance than a continuous flow of melodies. He reduced music to a minimum in this and did not dominate it in time, rythm nor musical feeling. He characterized it by accentuating the metrical and prosodial elements of the words themselves, and followed closely the accent of the words, changing rapidly from four-four rythm to three-four, and back again.