for the first time, and very prominently, both alone and in
combination with the horns and bassoons.

Cherubino's philandering with Susanna is interrupted by the Count,
who comes with protestations of love, which the page hears from
a hiding-place behind a large arm-chair, where Susanna, in her
embarrassment, had hastily concealed him on the Count's entrance.
The Count's philandering, in turn, is interrupted by Basilio, whose
voice is heard long enough before his entrance to permit the Count
also to seek a hiding-place. He, too, gets behind the chair, while
Cherubino, screened by Susanna's skirts, ensconces himself in the
seat, and finds cover under one of the Countess's gowns which
Susanna hurriedly throws over him. Don Basilio comes in search of
the Count, but promptly begins his pleas in behalf of his master.
Receiving nothing but indignant rejoinders, he twits Susanna with
loving the lad, and more than intimates that Cherubino is in love
with the Countess. Why else does he devour her with his eyes when
serving her at table? And had he not composed a canzonetta for her?
Far be it from him, however, to add a word to what "everybody says."
"Everybody says what?" demands the Count, discovering himself. A
trio follows ("Cosa sento!") The Count, though in a rage, preserves
a dignified behavior and orders the instant dismissal of the page
from the palace. Susanna is overwhelmed with confusion, and plainly
betrays her agitation. She swoons, and her companions are about to
place her in the arm-chair when she realizes a danger and recovers
consciousness. Don Basilio cringes before the Count, but is
maliciously delighted at the turn which affairs have taken.

The Count is stern. Cherubino had once before incurred his
displeasure by poaching in his preserves. He had visited Barbarina,