The grand rehearsal passed off well; and the first representation on December 26, in spite of some drawbacks, was a great success. The opera began, according to custom, an hour after Ave Maria, and at half-past five the theatre was PERFORMANCE OF "LUCIO SILLA." quite full. Just before Ave Maria the Archduke had risen from table, and retired to despatch five autograph congratulations on the New Year to Vienna; as might be expected, this took some time. The performers, male and female, in all the agitation of a first performance, and the hot impatient public were obliged to wait the arrival of the court until past eight o'clock. Unhappily the Lodi tenor had to express his anger by gestures during the prima donna's first song; in his efforts to surpass himself he gesticulated so wildly, "that he appeared to wish to box her ears, or hit her in the face with his clenched fist." Thereupon a laugh broke out; this confused De Amicis, who did not know for whom it was intended, and she sang ill the whole evening, especially after Rauzzini had been received on his first entry with applause from the Archduchess. Rauzzini had contrived to inform the Archduchess that he should be nervous at singing before her, and so had assured himself of the applause of the court. De Amicis was consoled by an invitation to court the next day, and then the opera went altogether well.
It was given more than twenty times to houses so full "that one could scarcely squeeze in." Each time some of the songs were encored, generally the prima donna's, which had "the upper hand."[80]
Wolfgang wrote a motett, "Exultate," for Rauzzini, (165 K.), which was performed before the actors on January, 1773. It is on the plan of a great dramatic scene, and maintains that style throughout. To a long and elaborate allegro succeeds a short recitative leading to a long, simple slow movement. The finale is an animated "Alleluia," cheerful and brilliant. Later (February 6) his father says he is busy with a quartet.
L. Mozart continually postponed their departure, at first with the expectation of seeing the second opera, which was much later than usual, owing to the many representations of "Lucio Silla," and afterwards under the pretext of an attack of rheumatism, which confined him to bed. In point of fact he had, with the powerful support of Count Firmian, proferred a request to the Grand Duke Leopold at Florence that the latter would attach Wolfgang to his court. The Grand Duke at first showed gracious dispositions, and L. Mozart must have wished to continue the negotiations from Milan. Even after their ultimate failure he thought he might count on powerful recommendations from Florence, and his thoughts turned again on a great professional tour. "Only be economical," he wrote, "for we must have money if we are to undertake a tour; I grudge every penny spent in Salzburg."
Towards the close of their stay a colleague from the Salzburg chapel, the horn-player Leutgeb, came to Milan, and was well received there.
At the beginning of March they really set out; for they might not be absent from their places on the anniversary of the Archbishop's election (March 14).
The remarkable success of the opera, and the lively interest excited by Wolfgang's person, leaves scarcely any doubt that further overtures were made to him in Italy; their non-acceptance must have been owing to the Archbishop's refusal of an extended leave of absence.