The ripple and rattle of the Italian parlando seem to be possible only to Italian tongues.
The Mozartian type of music is illustrated not only in the character of many of its melodies, but also in the use of motivi in what may be called the dramatic portions--the fleet flood upon which the dialogue dances with a light buoyancy that is delightfully refreshing.

These motivi are not used in the Wagnerian manner, but as every change of situation or emotion is characterized in Mozart's marvellous ensembles by the introduction of a new musical idea, so they are in his modern disciple's.

All of them are finely characteristic, none more so than the comical cackle so often heard from the oboe in the scenes wherein the women gossip about the imaginary doings of the men--an intentional echo, it would almost seem, of the theme out of which Rameau made his dainty harpsichord piece known as "La Poule." The motto of the club, "Bandie xe le done," is frequently proclaimed with more or less pomposity; Florindo's "Ah, Rosaura," with its dramatic descent, lends sentimental feeling to the love music, and the sprightly rhythm which accompanies the pranks of Colombina keeps much of the music bubbling with merriment.

In the beginning of the third act, not only the instrumental introduction, but much of the delightful music which follows, is permeated with atmosphere and local color derived from a familiar Venetian barcarolle ("La biondina in gondoleta"), but the musical loveliness reaches its climax in the sentimental scenes--a quartet, a solo by Rosaura, and a duet, in which there breathes the sympathetic spirit of Smetana as well as Mozart.
[Footnote: The cast at the first performance at the Metropolitan Opera House was as follows:-- Ottavio.................................Adamo Dfdur Beatrice...........................

Jeanne Maubourg Rosaura............................Geraldine Farrar Florindo.........................