The consideration of such a libretto as this renders comprehensible the esteem in which Metastasio's texts were held. There is no trace of psychological study of motive; Silla, a sort of distorted Titus, alternates between cruelty and remorse, and finally empties a perfect cornucopia of generosity on to the stage; Junia too is unequal and weak. The situations are one and all as if purposely arranged to lead to nothing; the poet has with difficulty disposed the numerous scenes so as to introduce the necessary songs in their proper order. And the verse itself is very far removed from the grace and melody of Metastasio.
The score of the opera is preserved entire in Mozart's handwriting; it is in three parts, and has 610 pages. It contains besides the overture twenty-three numbers, among them three choruses (6, 17, 23), one duet (7), and one terzet (18). No wonder that the composer paid court to the singers! The mishap that deprived the opera of its tenor has been already narrated (p. 142). As the part devolved in the end on a very unpractised singer, the greater part of it was omitted, leaving only what was necessary for the coherence of the plot. The two songs (5, 13) are written for a singer whose voice and execution do not rise above the average, without any passages, and with a
moderate compass; the more elaborate instrumentation alone betrays that they are intended for a principal performer. Two other songs for Silla which are in the libretto were not composed at all, in order, no doubt, as Sonnleithner conjectures, to give the tenor as little as possible to do.
All the more stress is laid on the parts of De Amicis and Rauzzini. Junia has four songs, which are all for a singer of the first rank. The special bravura song (II) is in the second act, "Ah, se il crudel periglio del caro ben ramento." Long passages of varied structure are here the chief considerations. One example among many will serve to show that Mozart was right in afterwards calling them "dreadful":--[See Page Image]
Notwithstanding the bravura character of this song, its style is far from well defined; that of the entering song, "Della sponde tenebrose" (4), and of the third aria (16) is more marked. This last, "Parto, m' affretto, ma nel partire il cor si spezza, mi manca la anima," consists of a continuous and progressive allegro assai. An agitated phrase for the first violins--supported by an accompaniment for the second, runs through it almost without intermission; the harmonising is interesting