Wieland was far from being satisfied with his own share of the opera, but he declared that Schweitzer had produced a work which would attract people for miles round to hear it.[ 89 ]
Wieland was invited to assist in person at the production of his opera. Dissatisfaction with the work, and domestic and economical considerations, caused him some hesitation; but the wish once more to enjoy music to the full finally prevailed, and he looked forward with pleasure to a meeting with old friends; Jacobi, Sophie la Roche and her daughter, and Max Brentano promised to come to Mannheim for the occasion. The production of the opera had been first fixed for the fête-day of the Elector (November 4, 1777), but owing to the delay caused by the revision it did not appear until January, 1778. When all the preparations, the splendid scenery and costumes were completed, Schweitzer came to Mannheim to conduct the final rehearsals himself. Mozart, who made his acquaintance at once, found him a good, honest man, but dry and positive like Michael Haydn, "only that his language is more refined (December 3, 1777). "There are beautiful things in the new opera, and I doubt not that it will succeed. 'Alceste' was a success, and is not half so fine as 'Rosamunde.' Certainly its being the first German opera had much to do with the success; and now that the novelty has worn off it has ceased to make the same impression." The opera was rehearsed daily, and it affords proof of the esteem in which Wolfgang was held by the band that, when Schweitzer was unwell, he had "to take his place, and conduct the opera with several of the violins at Wendling's" (December 18, 1777). Repeated hearing of the opera did not increase Mozart's admiration for it. "Wolfgang does not care for the new opera," writes his mother (December 18, 1777), "he says there is no nature in it, and much exaggeration, and that it is not well written for the singers; we must wait to see what effect it will produce." He writes himself (December 10, 1777): "'Rosamunde' was rehearsed at the theatre to-day; it is—good, but nothing more; and if it were bad, could it not be performed just the same?"
Later on (September 11, 1778), he pities Aloysia Weber on account of her poor part in "Rosamunde." "She has one song, which might be made something of, but the voice part is à la Schweitzer, like the barking of dogs; she has a kind of rondo in the second act, which allows her to sustain her voice, and display it a little. Woe to the vocalist, male or female, who falls into Schweitzer's hands! He will never acquire the art of writing for the voice."[ 90 ]
The arrival of Wieland, who was esteemed before all German poets at Mannheim,[ 91 ] was eagerly looked for by the public, and Wolfgang looked forward to making his acquaintance. Wieland arrived on December 21, and was equally delighted with his reception by the Elector and with the homage of the populace. "Every one is anxious to have me, and each day is distinguished by something which makes the remembrance of it pleasant," he writes on December 26 to Sophie la Roche;[ 92 ] and to Merck on the following day:[ 93 ] "I can say nothing more than that I am well both in soul and body, for the reason that I have to play no part but the one natural to me, and that my affairs, so far as it appears, are prospering. God grant that I may not grow too happy among these people. But that is provided against."
Mozart was not carried away by the universal enthusiasm for the celebrated poet, and sends his father the following impartial description (December 27, 1777):—
I have made the acquaintance of Herr Wieland, but he does not know me as well as I know him, for he has not heard me play yet. He is not at all what I had expected to find him. His speech seems to me somewhat affected; he has a childish voice—a fixed stare—a certain scholarlike bluntness, and yet sometimes a stupid condescension. I am not surprised at anything in his behaviour here, whatever it may be in Weimar MANNHEIM. or elsewhere, for the people look at him as if he had come down from heaven. Every one yields to him, and there is silence directly he opens his mouth. It is only a pity that he keeps people in suspense so long, for he has a defect in his utterance, and has to speak very slowly, and stop every six words. He is extremely ugly, covered with pockmarks, and with a very long nose. His height is somewhat greater than your own.
After Wieland had learnt to know Mozart also, he writes (January 10, 1778): "Herr Wieland, after hearing me twice, is quite enchanted. The last time he paid me all manner of compliments, ending up with, 'It has been a real happiness to me to meet you here!' and a squeeze of the hand."
Wieland was delighted with Wendling, and all the preparations for the opera were found satisfactory.