In "I Giojelli" no attempt seems to have been made by him to avoid comparison with the composer who has made the most successful attempt at giving musical expression to a drama which fifty years ago the most farsighted of critics would have set down as too rapid of movement to admit of adequate musical expression?
Mascagni and his "Cavalleria rusticana," of course.

But I am tempted to say that the most marvellous faculty of Wolf-Ferrari is to do all these things without sacrifice of his individuality.

He has gone further.

In "La Vita Nuova" there is again an entirely different man.

Nothing in his operas seems half so daring as everything in this cantata.