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We might guess, since her voice was said to be as strong as it was sweet, that she chose Donna Anna's Or sai, chi l'onore, and one of Zerlina's two arias. In all probability Eugenie and her fiancé were the only listeners who, in spirit, taste, and judgment, were what Mozart could wish.
You look as vainly for such touches as the divine last dozen bars "Or sai chi l'onore" in "Don Giovanni," or the deep emotion of the sobbing bass at "the first fruits of them that sleep" in "I know that my Redeemer liveth," as for the stately splendour of "Come and thank Him" in the "Christmas Oratorio," or the passion of "Tristan."
In time of war the courtier refuses even useful and perilous tasks, if they are not beautiful and dignified in themselves, such as, for instance, the capture of a herd of cattle; what urges him to take part in war is not duty but 'l'onore. The moral relation to the prince, as described in the fourth book, is singularly free and independent.
The Fifth Symphony of Beethoven is both grand and noble; probably no one will be found who will deny that it is supermusic, but Mahler's Symphony of the Thousand is likewise grand and noble, and futile and bombastic to boot. Or sai chi l'onore is a grand air, but Robert je t'aime is equally grand in intention, at least.
I will sing hymns to His glory during the remainder of my days." After which he sat down, and after having reflected a little, he got one of his companions to write an Italian canticle, which begins thus: "Altissimo, Omnipotente, bon Signore; tue son le laude, la gloria, l'onore, ed ogni benedizione," etc.
Compare the statement of the author in his preface, p. 4, where he speaks in his own person, with the definition of Onore given by Raffaella, pp. 50 and 51 of the Dialogue: 'l'onore non è riposto in altro, se non nella stimazione appresso agli uomini ... l'onor della donna non consiste, come t'ho detto, nel fare o non fare, chè questo importa poco, ma nel credersi o non credersi.
Certainly, however, no one would ever have compared her Donna Anna favourably with her Countess in Figaro. Her performance of Or sai chi l'onore was deficient in breadth of style and her lack of breath control at this period gave uncertainty to her execution.
'Le ingiurie conviene che siano nella roba, nel sangue, o nell' onore.... La roba e l'onore sono quelle due cose che offendono più gli uomini che alcun' altra offesa, e dalle quali il principe si debbe guardare: perchè e' non può mai spogliare uno tanto che non gli resti un coltello da vendicarsi; non può tanto disonorare uno che non gli resti un animo ostinato alla vendetta. Mach. Disc. iii. 6.
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