Daniel Leeson recently noted an intriguing thematic borrowing in the Act 1 trio of Le nozze di Figaro (No. 7, ‘Cosa sento!’). As Leeson demonstrated, Basilio’s theme, first introduced in bars 16–23, derives from Cherubino’s preceding aria, ‘Non so più cosa son, cosa faccio’. This veiled allusion echoes throughout the trio, most dramatically during the narrative in which the Count reveals the hidden page. The quotation of Cherubino’s theme, Leeson argued, supplies the stage director with precious information. It proves that Basilio has eavesdropped on the previous scene, and explains why Susanna reacts so sharply to his seemingly innocuous opening lines: ‘By singing a disguised version of Cherubino’s tune to Susanna, Basilio suggests a nasty perspective on what might have transpired in the previous scene. Any possible accusation against the Count has, by Basilio’s hidden musical threat, been redirected: the insinuation targets Cherubino as the recipient of Susanna’s favours.’