2 (return) [ "Figaro" was first performed in Berlin, September 14, 1790 (Schneider, Gesch. d. Oper, p. 59), and praised by the critics as a masterpiece, while the ordinary public preferred Martin and Dittersdorf (Chronik von Berlin, VIII., pp. 1229, 1244. Berl. Mus. Monatsschr., 1792, p. 137). "Figaro" had no greater success in Italy than others of Mozart's operas: "Mozart's operas, at the hands of the Italian comic singers and the Italian public, have met with the fate which would befall a retiring sober man introduced to a company of drunkards; the rioters would be sure to treat the sober man as a fool" (Berl. Mus. Ztg., 1793, p. 77). Thus, failure was reported from Florence (A. M. Z., III., p. 182) and Milan (A. M. Z., XVII., p. 294). "Figaro" has lately been on the repertory of the Italian Opera in Paris; since the unfortunate experiment in 1792 (p. 77, note), the opera has been given in French at the ThÉÄtre Lyrique (1858), with the most brilliant success (Scudo, Crit. et Litt. Mus., II., p. 458). "Figaro" was first performed in London in 1813 (Catalani sang Susanna—Parke, Mus. Mem., II., p. 82), and kept its place as one of the most favourite of operas.]
3 (return) [ Jahrb. d. Tonk., Wien u. Prag, 1796, p. 108. A. M. Z., p. 488. Reichardt, Br. e. aufm. Reisenden, II., p. 123.]
4 (return) [ Gyrowetz, in his Autobiography (Wien, 1848), gives a description of such an education.]
6 (return) [ [BlÜmner], Gesch. des Theaters in Leipzig, p. 203.]
7 (return) [ Particulars concerning him and his wife may be found in Cramer's Mag. Mus., I., p. 997. Jahrbuch der Tonkunst, 1796, p. 113. A. M. Z., I., p. 444.]
8 (return) [ Reichardt (Briefe eines aufmerks. Reisenden, I., p. 116) includes him among the best pianoforte-players of the time (1773): "who, besides a very good execution of Bach's music, has a particularly elegant and brilliant style."]
9 (return) [ She was born in Prague in 1756, and died there at an advanced age.]
10 (return) [ Schiller, Briefw. m. KÖrner, I., p. 280. She had given a concert in Leipzig on April 22 (Busby, Gesch. d. Mus., II., p. 668.)]
11 (return) [ We learn from L. Mozart's letters to his daughter, that Count Clamm, "a fine, handsome, amiable man, without cavalier pride," was the "declared lover" of Frau Duschek, and "kept her whole establishment."]
12 (return) [ Schiller, Briefw. m. KÖrner, I., p. 294.]
13 (return) [ Schletterer, Reichardt, I., p. 134.]
14 (return) [ Reichardt, Vertr. Briefe, I., p. 132.]
19 (return) [ Every "Teutsche" has its "Alternativo," and they are united into a connected whole, as Mozart especially remarks in a description of them. The close is formed by a somewhat lengthy coda, and they are for the most part lightly thrown together, with no pretension but to incite to the dance. He remarks at the end, "As I do not know of what kind the Flauto piccolo is, I have put it in the natural key; it can at any time be transposed." A pianoforte arrangement in Mozart's handwriting is in AndrÉ's collection.]
