1 (return)
[ Opitz's "Dafhe" (1627) follows Rinuccini's original in fidelity to the ancient style; a second adaptation, performed in 1672 and 1678, with music by Gius. Peranda and G. A. Bontempi (FÜrstenau, Zur Gesch. d. Mus. in Dresden, I., pp. 234, 251, 254), is enlarged, chiefly by comic scenes of great coarseness between Jakels the piper, KÄthe the peasant-girl, and her father Chremes. It was similarly treated in Hamburg. (Lindner, Die erste Deutsche Oper, p. 52).]

2 (return)
[ There are two thick volumes in the collection of the King of Saxony, containing comic scenes from nineteen operas by Al. Scarlatti, Gasparini, Giovanni Buononcini, Luigi Manci, Gius. Aldovrandini, and Severo de Luca.]

3 (return)
[ Grimm, Corresp. littM I., p. 203.]

4 (return)
[ Goethe, Werke, XIX., p. 421.]

5 (return)
[ Goethe's Scherz, List und Rache, is an intermezzo thus increased (Werke, XIX., p. 421.).]

6 (return)
[ Rousseau, Dictionn. de Mus., Intermidd. C£ Hiller, WÖch. Nachr., I., p. 145.]

7 (return)
[ The opera bnffa had no strict rule even as to its divisions. Either the two acts of the intermezzi were preserved, or the opera might be divided into three or four acts.]

8 (return)
[ Mattei (Riforma del Teatro vor Metastasio, Opp. III., p. xix.): Le com-medie (per musica) presso di noi son piene di caratteri caricati, e la lingua specialmente Napoletana non È altro che un ammasso di espressioni caricate; non ci È aria, in cui non si esprime o il cane, o la gatta, o gli uccelli, o la ruota che gira o il cannone che spara, e altre cose simili; qui troverete un ubbriaco, lÀ un matto; qui un che parla e sconnetta, lÀ un che balbuttisce ec. Quelle cose son facilissime ad esprimersi in musica (se ben gl' ignoranti le ammirano e restano attoniti) in quella maniera stessa, ch' È facile a un pittore esprimere un volto caricato: poichÈ comunque riesca il ritratto, basta, che vi si vegga quel lungo naso, o quel occhio Iosco del principale: ognuno lo conosce, ognuno giura chÈ desso.]

9 (return)
[ Arteaga's recipe for an opera buffa (Rivol., c. 15, III., p. 140.; Part II., p. 440) may be recognised in the majority of comic opera libretti.]

10 (return)
[ Goldoni, MÉm., II., p. 226.]

11 (return)
[ Goethe, XIX., p. 420.]

12 (return)
[ Goethe, XIX., p. 443.]

13 (return)
[ Goethe, XIX., p. 451. Briefw. m. Zelter, II., p. 19.]

14 (return)
[ Goldoni, MÉm., II., p. 305. Arteaga.]

15 (return)
[ Arteaga, Rivol., c. 13, II., p. 298; Part II. p. 263. Manfredini, Difesa d. Mas. Mod., p. 194. Mattei, Rif. del Teatro vor Metastasio, Opp. III., p. 37.]

16 (return)
[ Laborde, Essai, III., p. 198.]

17 (return)
[ Arteaga, c. 15, III., p. 138; Part II., p. 409.]

18 (return)
[ Burney, Reise, I., p. 229.]

19 (return)
[ Sonnleithner has furnished me with a book of the words, published in Vienna.]

20 (return)
[ Castil-Blaze, L'OpÉra Ital., p. 242.]

21 (return)
[ Director Franz Hauser possesses the copy of a score of the first act as far as the beginning of the finale, with German words, in which the music has undergone numerous alterations, especially with a reference to the stronger orchestras of the present day. It is not known by whom this arrangement was undertaken.]

22 (return)
[ Schubart, Teutsch. Chron., 1775, p. 267. Burney, Reise, II., p. 109. Mozart met her again in 1789, in Dresden, where she died at an advanced age.]

23 (return)
[ Arteaga, Riv. del Teatro, 15, III., p. 143; Part II., p. 412.]

24 (return)
[ Arteaga, Riv. del Teatro, c. 15, III-, p. 415.]

25 (return)
[ One or two less important echoes of "Figaro" are also to be found.]

26 (return)
[ Rudhart, Gesch. d. Oper zu MÜnchen, I., p. 159.]

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