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"If we don't manage a canon which, according to Junker Tobias is a thing which can reel three souls out of a weaver's body we will make it awful enough to be worthy of Signor Capuzzi and his friends. Suppose we sing an Italian Terzetto buffo out of our own heads. I'll be the prima donna, and begin.
Gounod may be forgiven even for the soldiers' chorus, in consideration of the masculine vigour of the duel terzetto a purified reminiscence of Meyerbeer and the impressive church scene. But the most characteristic part of the work is, after all, the love music in the third act.
A terzetto between Adriano, Orsini, and Colonna, set off against a chorus of the nobles, leads up to the finale. A long and elaborate ballet intervenes, divided into several numbers, an Introduction, Pyrrhic Dance, Combat of Roman Gladiators and Cavaliers, and the Dance of the Apotheosis, in which the Goddess of Peace is transformed to the Goddess, protector of Rome.
It is only necessary to call attention to a few prominent numbers, for this opera has not as many instances of these characteristics as those which followed and which are elsewhere described. The third act contains two great arias. The closing act is specially remarkable for the great terzetto in its finale, which is one of the most effective numbers Meyerbeer has written.
Both birds have some short deep notes, the other notes of the female being long powerful notes with a trill in them; but over them sounds the clear piercing voice of the male, ringing forth at the close with great strength and purity. The song produces the effect of harmony, but, comparing it with human singing, it is less like a duo than a terzetto composed of bass, contralto, and soprano.
The Count was loth to stop singing, and the last four lines of the impromptu terzetto suddenly became a so-called "endless canon," and Franziska's aunt had wit and confidence enough to add all sorts of ornamentation in her quavering soprano. Mozart promised afterward to write out the song at leisure, according to the rules of the art, and he did send it to the Count after he returned to Vienna.
The orgy is resumed, when suddenly by another transformation we are taken to the prison where Marguerite is awaiting death. It is unnecessary to give its details. The scene takes the form of a terzetto, which is worked up with constantly increasing power to a climax of passionate energy, and at last dies away as Marguerite expires. It stands almost alone among effects of this kind in opera.
In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by a recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, "Zitti, zitti." A bravura and finale of light and graceful melody close the opera.
The second act, which lasted two hours and a half, began to please in an air of Mariani, but the applause was rather directed to this favorite singer. After this a duet between her and Colbran, together with an air of Galli, and particularly a terzetto between him and the two ladies, were well received. Rossini was also called for at the end of the second act.
This terzetto was of course much applauded; Mr Milestone observing, that he thought the figure in the last verse would have been more picturesque, if it had been represented with its arms folded and its back against a tree; or leaning on its staff, with a cockle-shell in its hat, like a pilgrim of ancient times.
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