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[ For the history of opera in Vienna I am much indebted to an article written with full knowledge of the subject (A. M. Z., XXIV., p. 2651) and still more so to the careful and accurate communications which I owe to the courtesy of my friend Dr. Leop. von Sonnleithner; these two accounts form the groundwork of the present chapter, even where I have not expressly referred to them.]

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[ MÜller (Abschied, p. 263) does not indeed mention the younger Stephanie by name, but other accounts explain his allusions. Schroder wrote to Dalberg (January 19, 1782): "I'm insisting upon the removal of young Stephanie from all concern in the affair, but there is no one bold enough to propose to the Emperor to dismiss a man whom he has appointed, and who will certainly be the ruin of the theatre."]

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[ Meyer, L. Schroder, I., p. 358. A. M. Z., XXIV., p. 265. Nicolai heard a performance of Gluck's "Orpheus" there in 1781 (Reise, IV., p. 537).]

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[ Kelly, Reminisc., I., p. 194.]

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[ A. M. Z., XXIV., p. 269. Schroder wrote to Dalberg (October 21, 1782): "German opera is abolished here, and comedy has been strengthened by Reineke and Opiz."]

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[ The new operas were: January 10—Gassmann, "Die Unruhige Nacht" (La Notte Critica), performed three times; February 9—Gallus, "Rose," or "Pflicht und Liebe im Streit," performed twice; February 23—J. Weigl, "Die betrogne Arglist," performed three times.]

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[ On January 20, 1781, Klein submitted his opera "Kaiser Rudolf von Habsburg" to the Electoral German company; a short notice (Rhein. Beitr. z. Gelehrs., 1781, I., p. 383) gives it extraordinary praise. He afterwards turned the same subject into a tragedy with similar title, which appeared in 1787.]

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[ The letter was published in facsimile by Gassner (Zeitschr. f. Deutschlands Musikvereine, II., p. 161), and has often been printed.]

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[ The new German original operas which were performed were: 1785—"Die Dorfhandel," or "Bunt Über Eck," by Rupprecht; "Die Dorfdeputirten," by Teyber. 1786—"Die glÜcklichen Jager," by Umlauf; "Der Alchymist," by Schuster; "Doctor und Apotheker," by Dittersdorf; "Robert und Hannchen," by Hanke; "Betrug und Aberglauben," by Dittersdorf; "Zemirens und Azors Ehestand," by Umlauf. 1787—"Die Liebe im Narrenhause," by Dittersdorf; "Das wÜthende Heer," by Rupprecht; "Im Finstern ist nicht gut tappen," by Schenk; "Die Illumination," by KÜrtzinger.]

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[ Wien. Ztg., 1786, No. 11. L. Schneider, CÄcilia, XXIV., p. 148. R. Hirsch, Mozart's "Schauspieldirector," Leipz., 1859.]

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[ "Der Schauspieldirector." Ein GelegenheitsstÜck in einem Aufzuge. Wien, 1786. Printed, according to Schneider, in Stephanie's Vaudevilles.]

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[ Mosel, Salieri's Leben u. Werke, p. 90.]

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[ Wien. Ztg., 1786, No. 13 Anh.]

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[ Goethe, Tag-Vund Jahreshefte, 1791 (Werke, XXI., p. 12).]

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[ Goethe, Ital. Reise (Werke, XIX., p. 360).]

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[ A. M. Z., 1864, pp. 465, 649.]

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[ The text is printed in Diezmann's Goethe-Schiller-Museum, p. 15. Goethe can scarcely have had a greater share in it than the insertion of the songs "An dem schÖnsten FrÛhlingsmorgen" and "Bei dem Glanz der AbendrÖthe" (Neues Verz. e. Goethe-Bibl., p. 37). The words of Mozart's pieces are only somewhat improved in unimportant particulars, being, as a whole, very poor and insipid.]

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[ Theaterbriefe von Goethe, p. 32.]

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[ Hirsch, Mozart's Schauspieldirector, p. 18.]

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[ Printed in the German BÜhnenalmanach, 1861.]

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[ Besides the Bandlterzett (441 K., Vol. II., p. 362), and the air "Manner suchen stets zu naschen" (433 K., Vol. III., p. 44), the two songs "An Chloe" (524 K.) and "Die betrogene Welt" (474 K.) are also inserted.]

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[ Reichardt (A. M. Z., XV., p. 665. Schletterer, Reichardt, I., p. 324): "Opera buffa was at that time (1783) far better appointed there, and followed its own bent with far more earnestness and consistency than anywhere in Italy. The orchestra was also first-rate—full of fire and discretion." Cf. Musik. Wochenbl., p. 66. Car. Pichler, Denkw., I., p. 78.]

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[ Berl. Litt.-u. Theat.-Ztg., 1784,1., p. 14. Opera seria was only given as an exception. When the celebrated male soprano Luigi Marchesi (Cramer, Magaz. f. Mus., I., p. 559) passed through Vienna on his journey from St. Petersburg, in August, 1785, the Emperor directed him to appear in Sarti's "Giulio Sabino," which was played six times to overflowing houses (Muller, Abschied, p. 7).]

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[ Berl. Litt.—u. Theat.-Ztg., I., pp. 14,19.]

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[ Berl. Litt.—u. Theat-Ztg., I., p. 313.]

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[ Cramer, Magaz. f. Mus., II., p. 185.]

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[ Meyer, L. SchrÖder, I., p. 345.]

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[ This was the opera "Il Ricco d'un Giomo," which was produced with little success on December 6, 1784 (Mosel, Salieri, p. 86).]

29 (return)
[ Mus. Real-Ztg., 1789, p. 85.]

30 (return)
[ Kelly, Reminisc., I., p. 231. Pohl, Mozart u. Haydn in London, p. 169.]

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[ Cramer, Magaz. f. Mus., II., p. 556.]

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[ Mosel, Salieri, p. 74.]

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[ Mosel, Salieri, p. 79. Da Ponte, Mem., I., 2, p. 50.]

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[ L. Da Ponte's "Memorie" appeared in New York, 1823 (2nd edition, 1829-30), and a translation at Stuttgart, 1847. Cf. A. M. Z., X., p. 679; XLI., p. 788; XLIV., p. 769.]

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[ Schink, Dramaturg. Monate, II., p. 539.]

36 (return)
[ Kelly, Reminisc., I., p. 235.]

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[ Kelly, Reminisc., I., p. 189.]

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[ Da Ponte, Mem., I., 2, p. 68.]

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[ Kelly (Reminisc., I., p. 257) gives some interesting notices on the history of "Figaro."]

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[ Berl. Mus.-Ztg., 1793, p. 141.]

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[ An account of the fate of the autograph score, which came into the possession of N. Simrock, of Bonn, in 1864, is given in the N. Ztschr. fur Mus., XXXVI., p. 261. Cf. XXXV., pp. 65, 77.]

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[ Duschek and his wife had arrived at Salzburg from Prague at the beginning of April, after a short stay in Vienna.]

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[ Ulibicheff's opinion that, fortunately for the music, Mozart had to do with mediocre singers (II., p. 40), is unfounded. Cf. A. M. Z., XXIV., p. 270.]

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[ It is remarkable that none of the German vocalists, neither Madame Lange nor Cavalieri nor Teyber, on whom Mozart had himself reckoned for his "Sposo Deluso" (Vol. III., p. 60), were employed; a result, no doubt, of operatic factions. We know from Da Ponte (Mem., I., 2, pp. 109, no, 135) that Cavalieri was highly favoured by Salieri (Mosel, Salieri, p. 184), whose pupil she was.]

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[ So Mozart writes the name. Kelly was, as he says himself (Reminisc., I. p. 139), called Okelly in Italy.]

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[ She afterwards saog Pamina in the "Zauberflote."]

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[ The Wiener Zeitung (1786, No. 35) contained only the following brief notice: On Monday, May 1, was performed lor the first time in the National Theatre a new Italian opera in four acts, entitled 'Le Nozze di Figaro,' adapted from the French comedy of Mons. de Beaumarchais by Herr Abb. da Ponte, theatrical poet; the music is by Herr Kapellmeister Mozart. La Sign. Laschi, who has lately returned here, and La Sign. Bussani, a new vocalist, made their first appearance as the Countess and the page."]

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[ Da Ponte, Mem., I., 2, p. 90.]

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[ Dittersdorf, Selbstbiogr., p. 237.]

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[ In, June, 1787, Balzer announced (Wien. Ztg., 1787, No. 46, Anh.) that the unanimous approbation with which Mozart's masterpiece, "Die Hochzeit des Figaro," had been received in Prague, had induced him to publish a pianoforte arrangement by Kucharz; he also advertised arrangements for wind instruments, and a version of the work as a quintet by AbbÉ Vogler(I).]