The music of the work is very dramatic in its character, some of the
finales being the strongest Donizetti has written. In the first act
there is a beautifully melodious aria ("Una Vergine"), in which
Fernando describes to Balthasar the vision of Leonora which had
appeared to him at his orisons, and a very tender duet ("Deh, vanne!
deh, parti") between Fernando and Leonora, in which they sorrowfully
part from each other. In the second act the King has a very passionate
aria, where he curses his courtiers for leaguing against him at Rome,
followed by a very dramatic duet with Leonora ("Ah! l'alto ardor").
The third act contains the beautiful aria, "O mio Fernando!" which is
a favorite with all contraltos. It is remarkable for its warmth and
richness, as well as its dramatic spirit, and the act closes with a
concerted finale of splendid power, in which Fernando breaks his
sword, and once more Balthasar anathematizes the King. The fourth act
is the most beautiful of all in its music and the most powerful in
dramatic effect. The chorus of monks in the first scene ("Scaviam
l'asilo") is remarkable for its religious character and solemnity. In
the third scene occurs one of the tenderest and loveliest romanzas
ever written ("Spirto gentil"), which Donizetti transferred to this
work from his opera, "Le Duc d'Albe," which had not been performed,
and the libretto of which was originally written by Scribe for
Rossini. The closing duet between Fernando and Leonora is full of
pathos and beauty, and forms a fitting close to an act which, in one
sense at least, is an inspiration, as the whole act was composed in
four hours,--a proof of the marvellous ease and facility with which
Donizetti wrote.


DON PASQUALE.