Chapter XXXV: Mozart as an Opera Composer (2)

hearing some portions of it, commanded that it should be performed and put into rehearsal at once. This caused much displeasure to Mozart's opponents, Casti and Count Rosenberg, "a sworn enemy of the Germans, who would listen to nothing that was not Italian,"[40] and who made as many difficulties as he could. Da Ponte relates one instance of the kind. The manager, Bussani (the singer who was cast for the part of Bartolo), told Count Rosenberg that in the third act of "Figaro," during the wedding festivities, while Susanna is conveying the letter to the Count, a ballet was to be introduced. Rosenberg sent for the poet, reminded him that the Emperor would not allow a ballet, and turning a deaf ear to his remonstrances, tore the scene out of the book. Mozart was furious; wanted to call the Count to answer, to horsewhip Bussani, to appeal to the Emperor, to take back the score--in short, he could with difficulty be pacified. At the full rehearsal the Emperor was present. In obedience to Rosenberg's order the ballet was omitted, and in dead silence Susanna and the Count made their now meaningless gestures. The Emperor, in amazement, asked what it all meant, and on Da Ponte's explanation of the affair, ordered a proper ballet to be at once arranged. This story, although Da Ponte may have exaggerated the importance of his own share in it, doubtless gives a fair idea on the whole of the circumstances under which Mozart's "Figaro" was produced. Kelly's assertion that Mozart was commissioned by the Emperor to write an opera, and selected "Figaro," accords very well with Da Ponte's account. Mozart began his work in the autumn of 1785, as we learn from a letter of his father's to Marianne (November 11, 1785):--

At last, after six weeks' silence, I have received a letter from your brother of November 2, containing quite twelve lines. His excuse for not writing is that he has been over head and ears at work on his opera,

"Le Nozze di Figaro." He has put off all his pupils to the afternoon, so that he may have his mornings free. I have no fear as to the music;

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but there will no doubt be much discussion and annoyance before he can get the libretto arranged to his wish; and having procrastinated and let the time slip after his usual fashion, he is obliged now to set to work in earnest, because Count Rosenberg insists upon it.

This contradicts Da Ponte's account of the secrecy with which the opera was prepared; and it may be doubted also whether it was really written in six weeks. The date in Mozarts own catalogue,-April 29, 1786, only proves that he closed his work by writing the overture immediately before the first performance (May 1).[41] Da Ponte may have exaggerated somewhat tor the sake of effect. Mozart's Thematic Catalogue shows what he was capable of accomplishing even while at work upon "Figaro." There is a hiatus in the catalogue from July 5, 1785, to November 5. It is possible that he was busy with the opera during this interval; but during the time immediately following, when he was working at it in real earnest, we find the following compositions entered:--

1785. November 5. Quartet to the "Villanella Rapita" (Vol. II., p. 331).

November 21. Terzet I (479, 480 K.).

December 12. Sonata for piano and violin in E flat major (481 K.).

December 16. Pianoforte concerto in E flat major (482 K.).

1786. January 10. Pianoforte rondo in D major (485 K.).

January 18. Terzet from the "Schauspieldirector."

February 3. "Schauspieldirector" (486 K.).

March 2. Pianoforte concerto in A major (488 K.).

March 10. Duet and air for the private performance of "Ido-meneo" (489, 490 K.).

March 24. Pianoforte concerto in C minor (491 K.).

April 29. "Le Nozze di Figaro" (492 K.).

To these may be added the Lent Concerts, which were also then occupying him. There were other difficulties to be overcome before the performance, of which we hear nothing from Da Ponte, but which are related by Kelly:--

There were three operas now on the _tapis_, one by Righini ("ü Demo-gorgone"), another by Salieri ("La Grotta di Trofonio"), and one

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by Mozart, by special command of the Emperor. Mozart chose to have Beaumarchais' French comedy, "Le Mariage de Figaro," made into an Italian opera, which was done with great ability by Da Ponte. These three pieces were nearly ready for representation at the same time, and each composer claimed the right of producing his opera for the first. The contest raised much discord, and parties were formed. The characters of the three men were all very different. Mozart was as touchy as gunpowder, and swore that he would put the score of his opera into the fire if it was not produced first; his claim was backed by a strong party. Righini, on the contrary, was working like a mole in the dark to get precedence. The third candidate was Maestro di Capella to the court, a clever, shrewd man, possessed of what Bacon called "crooked wisdom"; and his claims were backed by three of the principal performers, who formed a cabal not easily put down. Every one of the opera company took part in the contest. I alone was a stickler for Mozart, and naturally enough, for he had a claim on my warmest wishes, from my adoration of his powerful genius and the debt of gratitude I owed him for many personal favours. The mighty contest was put an end to by his majesty issuing a mandate for Mozart's "Nozze di Figaro" to be instantly put into rehearsal.

A slight error has crept in here, for Salieri's opera was given first on October 12, 1785; but this account confirms the fact of the Emperor's interference. Mozart's claims were supported by the distinguished company of amateurs who arranged a representation of "Idomeneo" at the Auersperg Theatre in March (Vol. II., p. 289). The fact that his friends Count Hatzfeld (Vol. II., p. 291) and Bridi (Vol. II., p. 359) took his part in the dispute shows that it was intended to put Mozart forward as a composer of Italian operas, and that powerful support was considered necessary for the purpose. His father had cause therefore to write to his daughter (April 18):--

On the 28th, "Le Nozze di Figaro" is to be put on the stage for the first time. It will mean much if it succeeds, for I know that there has been a surprisingly strong cabal against it. Salieri and all his adherents will move heaven and earth against it. Duschek told me lately[42] that my son met with such violent opposition because of his extraordinary talent and cleverness.

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Niemetschek (p. 37) goes so far as to assert that it was commonly reported that the Italian singers did all they could to ruin the opera on its first performance by intentional mistakes and carelessness, and that they had to be sternly reminded of their duty by the Emperor, to whom Mozart appealed in despair at the end of the first act. Kelly says nothing of this; he maintains, on the contrary, that never was opera so strongly cast, and that all the subsequent performances he had seen were no more to be compared to the original one than light is to darkness:[43]--

All the original performers had the advantage of the instruction of the composer, who transfused into their minds his inspired meaning. I never shall forget his little animated countenance, when lighted up with the glowing rays of genius; it is as impossible to describe it as it would be to paint sunbeams. I remember at the first rehearsal of the full band Mozart was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra. Figaro's song "Non più andrai" Benucci gave with the greatest animation and power of voice. I was standing close to Mozart, who, (_sotto voce_), was repeating: "Bravo! bravo, Benucci!" and when Benucci came to the fine passage, "Cherubino, alla vittoria, alia gloria militar!" which he gave out with stentorian lungs, the effect was electricity itself, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated: "Bravo! bravo, maestro! viva, viva, grande Mozart!" Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against the music-desks. The little man acknowledged by repeated obeisances his thanks for the distinguished mark of enthusiastic applause bestowed upon him.

The following was the cast of the first performance, according to Mozart's Thematic Catalogue--the original libretto is unfortunately lost:[44]--[See page images]

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The reception of the opera by the public on its first performance (May 1, 1786) was such as to justify the most favourable anticipations.[45] "Never was anything more complete," says Kelly, "than the triumph of Mozart and his 'Nozze di Figaro.'" The house was crowded, and many pieces were encored, so that the opera lasted twice the usual time; but that did not prevent long-continued applause and repeated calls for Mozart at the close of the performance. L. Mozart wrote to his daughter on May 18: "At the second performance of your brother's opera (May 3) five pieces were encored, and on the third (May 8) seven; one little duet had to be sung three times."[46] The opera, therefore, was a decided success; too much so, indeed, for many people, and the Emperor was persuaded, after the first performance, to forbid any piece to be encored, under the pretence of sparing the singers and the conductor. Kelly narrates how the Emperor, after issuing this prohibition, addressing himself at a rehearsal to Storace, Mandini, and Benucci, said:[47] "I

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dare say you are all pleased that I put a stop to encores; it must be fatiguing and distressing to you to repeat so many songs." Storace replied: "It is indeed, sire, very distressing." The other two bowed, as if in assent; but Kelly, who was standing by, said boldly to the Emperor: "Do not believe them, sire, they all like to be encored; at least I am sure I always do"; whereupon the Emperor laughed. Mozart's enemies found it impossible to drive the opera completely from the stage, but they took care that it should not be given often enough to take firm hold of the public favour. Nevertheless, it reached nine performances within the year, though with long intervals between them (May 1, 3, 8, 24, July 4, August 28, September 22, November 15, December 18). On November 17 Martin's "Cosa Rara" (after so strong an opposition on the part of the singers, that the Emperor was obliged to compel them to sing)[48] achieved an unprecedented success. This threw "Figaro" somewhat into the shade, both in the public estimation and in the Emperor's opinion; the latter told Dittersdorf that Mozart overweighted the singers with his full accompaniments;[49] Martin's easy and taking melodies were far more to the royal taste. During 1787 and 1788 "Figaro" was not given at all in Vienna,[50] and was not reproduced until August 29, 1789.

FOOTNOTES OF CHAPTER XXXV.

[Footnote 1: 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.]

[Footnote 2: 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."]

[Footnote 3: 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).]

[Footnote 4: Kelly, Reminisc., I., p. 194.]

[Footnote 5: 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."]

[Footnote 6: 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.]

[Footnote 7: 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.]

[Footnote 8: The letter was published in facsimile by Gassner (Zeitschr. f. Deutschlands Musikvereine, II., p. 161), and has often been printed.]

[Footnote 9: 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.]

[Footnote 10: Wien. Ztg., 1786, No. 11. L. Schneider, Cäcilia, XXIV., p. 148. R. Hirsch, Mozart's "Schauspieldirector," Leipz., 1859.]

[Footnote 11: "Der Schauspieldirector." Ein Gelegenheitsstück in einem Aufzuge. Wien, 1786. Printed, according to Schneider, in Stephanie's Vaudevilles.]

[Footnote 12: Mosel, Salieri's Leben u. Werke, p. 90.]

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

[Footnote 14: Goethe, Tag-Vund Jahreshefte, 1791 (Werke, XXI., p. 12).]

[Footnote 15: Goethe, Ital. Reise (Werke, XIX., p. 360).]

[Footnote 16: A. M. Z., 1864, pp. 465, 649.]

[Footnote 17: 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.]

[Footnote 18: Theaterbriefe von Goethe, p. 32.]

[Footnote 19: Hirsch, Mozart's Schauspieldirector, p. 18.]

[Footnote 20: Printed in the German Bühnenalmanach, 1861.]

[Footnote 21: 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.]

[Footnote 22: 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.]

[Footnote 23: 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).]

[Footnote 24: Berl. Litt.--u. Theat.-Ztg., I., pp. 14,19.]

[Footnote 25: Berl. Litt.--u. Theat-Ztg., I., p. 313.]

[Footnote 26: Cramer, Magaz. f. Mus., II., p. 185.]

[Footnote 27: Meyer, L. Schröder, I., p. 345.]

[Footnote 28: This was the opera "Il Ricco d'un Giomo," which was produced with little success on December 6, 1784 (Mosel, Salieri, p. 86).]

[Footnote 29: Mus. Real-Ztg., 1789, p. 85.]

[Footnote 30: Kelly, Reminisc., I., p. 231. Pohl, Mozart u. Haydn in London, p. 169.]

[Footnote 31: Cramer, Magaz. f. Mus., II., p. 556.]

[Footnote 32: Mosel, Salieri, p. 74.]

[Footnote 33: Mosel, Salieri, p. 79. Da Ponte, Mem., I., 2, p. 50.]

[Footnote 34: 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.]

[Footnote 35: Schink, Dramaturg. Monate, II., p. 539.]

[Footnote 36: Kelly, Reminisc., I., p. 235.]

[Footnote 37: Kelly, Reminisc., I., p. 189.]

[Footnote 38: Da Ponte, Mem., I., 2, p. 68.]

[Footnote 39: Kelly (Reminisc., I., p. 257) gives some interesting notices on the history of "Figaro."]

[Footnote 40: Berl. Mus.-Ztg., 1793, p. 141.]

[Footnote 41: 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.]

[Footnote 42: Duschek and his wife had arrived at Salzburg from Prague at the beginning of April, after a short stay in Vienna.]

[Footnote 43: 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.]

[Footnote 44: 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.]

[Footnote 45: So Mozart writes the name. Kelly was, as he says himself (Reminisc., I. p. 139), called Okelly in Italy.]

[Footnote 46: She afterwards saog Pamina in the "Zauberflote."]

[Footnote 47: 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."]

[Footnote 48: Da Ponte, Mem., I., 2, p. 90.]

[Footnote 49: Dittersdorf, Selbstbiogr., p. 237.]

[Footnote 50: 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).]

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MOZART 36

BY DAVID WIDGER