Life of Mozart

—:^^— :70 MOZART AS AN OPERA COMPOSER.Niemetschek (p. 37) goes so far as to assert that it wascommonly reported that the Itahan singers did all theycould to ruin the opera on its first performance by intentionalmistakes and carelessness, and that they had to besternly reminded of their duty by the Emperor, to whomMozart 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 thesubsequent performances he had seen were no more to becompared to the original one than light is to darknessAll the original performers had the advantage of the instruction ofthe composer, who transfused into their minds his inspired meaning. Inever shall forget his little animated countenance, when lighted up withthe glowing rays of genius; it is as impossible to describe it as it wouldbe to paint sunbeams. I remember at the first rehearsal of the full bandMozart was on the stage with his crimson pelisse and gold-laced cockedhat, giving the time of the music to the orchestra. Figaro's song " Nonpiu andrai " Benucci gave with the greatest animation and power ofvoice. I was standing close to Mozart, who, sotto voce, was repeating" Bravo! bravo, Benucci! " and when Benucci came to the fine passage," Cherubino, alia vittoria, alia gloria militar !" which he gave out withstentorian lungs, the effect was electricity itself, for the whole of theperformers on the stage, and those in the orchestra, as if actuated byone feeling of delight, vociferated ": Bravo ! bravo, maestro ! viva, viva,grande Mozart!" Those in the orchestra I thought would never haveceased applauding, by beating the bows of their violins against themusic-desks. The little man acknowledged by repeated obeisances histhanks for the distinguished mark of enthusiastic applause bestowedupon him.The following was the cast of the first performance, accordingto Mozart's Thematic Catalogue—the original libretto isunfortunately lost :^*3 Ulibicheff's opinion that, fortunately for the music, Mozart had to do withmediocre singers (IL, p. 40), is unfounded. Cf. A. M. Z., XXIV., p. 270.^'i It is remarkable that none of the German vocalists, neither Madame Langenor Cavalieri nor Teyber, on whom Mozart had himself reckoned for his " SposoDeluso" (Vol. III., p. 60), were employed; a result, no doubt, of operatic factions.We know from Da Ponte (Mem., I., 2, pp. log, no, 135) that Cavalieriwas highly favoured by Salieri (Mosel, Salieri, p. 184), whose pupil she was.