Elisa's first song (2) unites in a singular degree the pastoral with the bravura character: the noble lady depicts the happiness of living as a shepherdess near her beloved Aminta. The traditional form has been so skilfully modified, and an almost playful grace is so freshly and charmingly expressed, that this song may justly be placed on a level with some of Mozart's later concert songs. The second air (8) is more strictly according to rule; the situation does not lend itself to freedom of treatment, and Mozart has contented himself with composing a harmonious and effective song.
The duet between Elisa and Aminta at the close of the first act (7) is light and pleasing, surpassing former efforts of the same kind in its clever management of the voices and in the originality of its subject. It is a charming idea and an appropriate one, to carry on the subject of the Andante with altered rhythm into the Allegro.
The parts of Tamiri and Agenore are quite secondary, scarcely more than stop-gaps. Tamiri's first air (6) is a bravura song of the ordinary type, the second (11) is almost soubrette-like in its airy lightness. Agenore's first air (5) is tender and pleasing, not much in accord with the situation. His second air (12) is pathetic, in a minor key, and stands alone of its kind. Restless agitation is portrayed by a varied and striking harmony, emphasised by
strongly accented chords for the wind instruments--four horns besides oboes and bassoons. But neither the character of Agenore nor the moralising words give any opening for pathos.
The finale consists of a brilliant four-part tutti movement, which is repeated entire, or in part, several times; passages for single voices are inserted, alternating cleverly and with a pleasing effect.
Mozart's evident longing to break loose from the fetters of conventionality and tradition is nowhere more apparent than in the accompaniment and in the orchestral movements, where we find a fulness and freedom of thought hitherto only shown in detached passages. Even when the old fashion is retained of employing only oboes and horns, there is an evident appreciation of the special powers of the instruments expressed, it may be, in a few notes. The orchestra has its own significance, and Mozart turns to account his intimate knowledge of the orchestra of opera seria. Trifling as these instrumental effects may appear, the main point, that instrumental music was henceforth to take an active part both in serious and comic opera, was one of great importance in the history of their development.