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Updated: May 5, 2025
Susanna, who has heard all from an alcove, hastens to Cherubino's rescue, who escapes by leaping from the window of the Countess's apartment into the garden below. Susanna takes his place in the chamber. Then begins the most marvellously ingenious and beautiful finale in the whole literature of opera.
This further explains why there may be so many renderings of Cherubino's melodies. Mozart idealised an infinite emotion. The singer is forced to define; the actor also is forced to define. Each introduces his own limit on the feeling. When the actor and the singer meet together in one personality, this definition of emotion becomes of necessity doubly specific.
His philosophy may be summed up in a few phrases: Nothing matters, Whatever will be is, Everything is possible, and Since we live today let us make the best of it and live in Paris. And through all the opera of Saltus, through the rapes and murders, the religious, philosophical, and social discussions, rings Cherubino's still unanswered question, Che cosa e amor? like a persistent refrain.
'So that you may be sure that you have a vocation. Good-bye, dear child. The Lord be with you. Agnes went into the dining-room, and she noticed that every one was listening to her father, who was talking of the success her mother had had at a concert. She had sung two songs by Gounod and Cherubino's Ave Maria. He declared that he had never seen anything like it.
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