Focus on ^5 is very strong, but in the musical example below note the equally strong internal rising figure in the accompaniment.
In the cadence, a remarkable wedge figure takes the bass down through the octave and the melody up. The melody is easily divided at the focal note (C5, circled), with fifth below and fourth above, so that an ascending line ^5-^6-^7-^nat7-^8 is readily heard.
The entr'acte between Acts I and II is this same composition, but the orchestral accompaniment only: see the opening below. Of course, the same rising line ends, as above.
As a postscript to the postscript, here is the ending of number 24, a duet for Constance and D'Artagnan that parallels the one between Katherine and Villon that I discussed in yesterday's post.
Note especially the optional ending (arrow) that keeps the rising line in its "obligatory register."
