All this, however, may be better enjoyed by those who observe them in the representation than those who will only read about them, no matter how deftly the analysis may be made.
It is Mozart's media and Mozart's style which Wolf-Ferrari adopts, but there are traces also of the idioms of others who have been universal musicians rather than specifically Italian.

Like Nicolai's "O susse Anna!" (Shakespeare's "Oh, Sweet Anne Page"), Wolf-Ferrari's Florindo breathes out his languishing "Ah, Rosaura!" And in the lively chatter of the women there is frequently more than a suggestion of the lively gossip of Verdi's merry wives in his incomparable "Falstaff." Wolf-Ferrari is neither a Mozart nor a Verdi, not even a Nicolai, as a melodist, but he is worthy of being bracketed with them, because as frankly as they he has spoken the musical language which to him seemed a proper investiture of his comedy, and like them has made that language characteristic of the comedy's personages and illustrative of its incidents.

He has been brave enough not to fear being called a reactionary, knowing that there is always progress in the successful pursuit of beauty.
The advocates of opera sung in the language native to the hearers may find an eloquent argument in "Le Donne Curiose," much of whose humor lies in the text and is lost to those who cannot understand it despite the obviousness of its farcical action.

On the other hand, a feeling of gratitude must have been felt by many others that they were not compelled to hear the awkward commonplaces of the English translation of the libretto.

The German version, in which the opera had its first hearing in Munich six years before, is in a vastly different case--neither uncouth nor halting, even though it lacks the characteristic fluency essential to Italian opera buffa; yet no more than did the speech of most of the singers at the Metropolitan performance.