New-York tribune., 1909-07-11

page comes the Countess first insists hearing
the song which he had given to Susanna, and
CheTubno. Itammering and blushing at first sings
it to susanna's guitar Canzone: "voi che
sapete.'D Again I call upon Otto jain for a de-
scriptiOn of the music. "Cherubno is not here di-
recty expressing his feelings; he is depicting them
in romance, and he is in the presence Of the
Countess, toward whom he glances with all the
bashfuness of boyish passion The song is in ballad
form, 10 suit the situation the voice executing the
clear, lovely melody, while the stringcd instru-
ments carry a simple accompaniment pizzicato.
TO initiate the guitar this delicate outline is how
shaded and animated in wonderful degree
by solo wind instruments. Without being absolute
y necessary for the progress Of the melodies and
the completeness Of the harmones they supply the
delicate touches Of detail. reading the lines
Of the romance as il were, what is passing I'm the
heart ct the singer We know not whether to adj
mire most the gracefulness of the melodies the
dhlicacy Of The disposition of the parts the charm
Of the tone coloring or the tenderness Of the ex-
Pr4ssion-the whole Is of enhancing beauty"
Susanna finds that she and Ch4rubno are Of the
same height and begins to array him in garments
belonging 10 her, first locking ne door ssainst pos
sibA intruders. The Countets Views the adventure
with nlisgivngs ct first, but after ALL Cherl-
bino is only boy and she reioices him with ap-
prov4l II his songs and smiles upon him tin ne is
deriously happy. Basilio has given him his com
mission in the Counts regiment and the Countess
discovers that II lacks seal to secure which would
cause longer and desired 1eay. While Susanna
is playing the role OF dressing maid to Cherubno
and nstructinE him IN a ladylike bearing the
Count raps for admission TO the room. Figaros
decoy letter caused him uneaslness and he had
abandoned the hunt Cherubno hurries into the
chamber and the Countess turns the key upon him
before admitting his ordship, who enters in i'll
humOr which is turned into Jealous rage.
Cherubino has awl1wardly thrown over chair in
the chamber and though the Countess explains that
Susanna Is within. she refuses to open the door.
on the plea that her maid is making her toilet. The
Count goes for tools 10 break open the door. taxi
ing the Countess with him. Susanna. who has
heard all from alcoVe. hastens to Cherubinos
rescue. who escapes by leaping from the window OF
the Countess's apartment into the garden below.
Susanna takes his place in the chamber. Then begins
the most marvellouslv ingenious and beautiful finale
in the whole literature OF opera. Fast upon each
follow fewer than eight independent pieces
of music. each perfect delineaton OF the quickly
changing moods and situations of the comedy, vet
each built up the lines OF musical symmetry.
and developing a musical theme which, though it
passes from mouth 10 mouth, appears to belong to
the person uttering It, The Countess throws herself
upon the mercy of the Count confesses that Cheru-
oino. suspciously garbed is in the chamber. but
pleads for his life and protests her innocence Of
~Isng. she gives the key to her enraged husband,