The music of 'Don Giovanni' has so often been discussed, that brief reference to its more salient features will be all that is necessary. Gounod has written of it: 'The score of "Don Giovanni" has influenced my life like a revelation. It stands in my thoughts as an incarnation of dramatic and musical impeccability,' and lesser men will be content to echo his words. The plot is less dramatically coherent than that of 'Le Nozze di Figaro,' but it ranges over a far wider gamut of human feeling. From the comic rascality of Leporello to the unearthly terrors of the closing scene is a vast step, but Mozart is equally at home in both. His incomparable art of characterisation is here displayed in even more consummate perfection than in the earlier work. The masterly way in which he differentiates the natures of his three soprani--Anna, a type of noble purity; Elvira, a loving and long-suffering woman, alternating between jealous indignation and voluptuous tenderness; and Zerlina, a model of rustic coquetry--may especially be remarked, but all the characters are treated with the same profound knowledge of life and human nature. Even in his most complicated concerted pieces he never loses grip of the idiosyncrasies of his characters, and in the most piteous and tragic situations he never relinquishes for a moment his pure ideal of intrinsic musical beauty. If there be such a thing as immortality for any work of art, it must surely be conceded to 'Don Giovanni.' 'Cosi fan tutte,' his next work, was produced at Vienna in January, 1790. It has never been so successful as its two predecessors, chiefly on account of its libretto, which, though a brisk little comedy of intrigue, is almost too slight to bear a musical setting. The plot turns upon a wager laid by two young officers with an old cynic of their acquaintance to prove the constancy of their respective sweethearts. After a touching leave-taking they return disguised as Albanians and proceed to make violent love each one to the other's _fiancee_. The ladies at first resist the ardent strangers, but end by giving way, and the last scene shows their repentance and humiliation when they discover that the too attractive foreigners are their own lovers after all. There is much delightful music in the work, and it is greatly to be regretted that it should have been so completely cast into the shade by 'Le Nozze di Figaro,'