In the evening at court the Elector again spoke in high praise of the music, and Mozart learnt from a sure source that he had said after the rehearsal, "I was quite taken by surprise—no music ever had such an effect on me—it is truly magnificent."
The news of this success reached Salzburg bit by bit. "All the town is talking of the excellence of your opera," his father tells him (December 25, 1780). "Baron Lerbach set it going; the chancellor s wife told me that she had heard from him that the opera was wonderfully well spoken of everywhere. Then came Becke's letter to Fiala, which he gave to be read everywhere." Becke wrote to L. Mozart himself that "the storm chorus in the second act is so powerful that none could hear it, even in the greatest heat of summer, without turning as cold as ice;" and he praises Dorothea Wendling's concerted song very much. The violinist Esser from Mayence, who had given concerts in Salzburg, wrote from Augsburg concerning the two acts of the opera which he had heard: "Che abbia sentito una musica ottima e particolare, universalmente applaudita." "In short," writes the father, "it would be tedious to tell you all the compliments paid to you. I hope that the third act will have as good an effect, and I do so the more confidently, since all the best situations are here, and the subterranean voices must be startling and terrifying.[ 7 ] I hope to be able to say, 'Finis coronat opus.'"
To this his son answers, over head and ears in work (December 30, 1780): "The third act will be thought at least as good as the other two: I like it infinitely better, and you may justly say, 'Finis coronat opus.'" But there was plenty to do meantime. "Head and hands," he writes (January 3,1781), "are full of the third act, so that I should not be surprised if I were to turn into a third act myself; It alone has cost me more trouble than the whole opera, for there is not a scene in it that has not peculiar interest." He had the satisfaction of finding after the rehearsal that it really was considered to surpass the other two acts.
Mozart's anxious father strove to draw his attention to every point that might contribute to success, and particularly cautioned him to keep on good terms with the orchestra (December 25, 1780). Experience of Salzburg must necessarily have shown him the importance of this:—
Try to keep your orchestra in good humour—flatter them, and make them devoted to you by praising them; I know your way of writing, and the unceasing and close attention it exacts from all the instruments; it is no joke for the orchestra to be kept on the stretch of their attention for three hours and more. Every one, even the worst fiddler, is touched by being praised tête-ä-tête, and becomes more and more attentive and zealous; and these courtesies cost you nothing but a few words. But you know it all yourself; I only tell you because such things are often forgotten at rehearsal, and you will need the friendship and zeal of the whole orchestra when the opera is in scena. The position is then altered, and the player's attention must be much more intent. You know that they cannot all be friendly towards you. There is always a but and an if to be met with. You say people doubted whether the second act would come up to the first. This doubt being relieved, few will have misgivings for the third act. But I will wager my head that there will be some who will doubt whether the music will be as effective in the theatre as in a room; and in that case the greatest zeal and goodwill are necessary on the part of the orchestra.
But the opera was not ready yet; there was to be no ballet, only a divertissement fitting into the plot, and this Mozart was, as he expressed it, to have the honour of composing (December 30, 1780). "I am very glad of it," he adds, "for then the music will be by one master." He was IDOMENEO. hard at work at the "cursed dances" until the middle of January, and had no time to think of anything else, not even of his own health. It was not until January 18 that he could write: Laus Deo, at last I have come to an end of it!" Amid rehearsals and anxious labours, the day of representation drew near. L. Mozart had been concerned lest the death of the Empress Maria Theresa on November 29, 1780, should put a stop to it, but Wolfgang reassured him by saying that none of the theatres had been closed on this account. Soon after he was terrified by a rumour that the Electress was dangerously ill, but discovered this to be a "lie from beginning to end." At first January 20, 1781, was fixed for the performance, then the 22nd, and finally January 29; the last rehearsal was to be on the 27th, Wolfgang's birthday; he was pleased at the postponements: "The opera can be oftener and more carefully rehearsed." The fame of "Idomeneo," which had reached Salzburg even before its performance, was a great source of satisfaction to Mozart's friends; Dr. Prexl, for instance (Vol. II., p. 84), wrote to him of the "inexpressible satisfaction" with which he had learnt the honour done by Wolfgang to Salzburg, and more than one friend undertook the journey to Munich in order to be present; among these were Frau Robini and her family, two Fräulein Barisani, and Fiala, from the Kapelle. L. Mozart, who was "as pleased as a child about the excellence of the orchestra," intended to go to Munich with his daughter as soon as he could arrange to be absent. But as he dared not risk a refusal from the Archbishop, and it was rumoured that the latter meditated a journey to Vienna, he waited his time. It suited him very well that the first performance was postponed until Hieronymus had actually left Salzburg. This being so, he set out on January 26 to be present at the last rehearsal and the performance. Wolfgang had arranged that his father and sister should find accommodation at his own lodging (in the Burggasse), if they would be contented to live for the time "like gipsies or soldiers."
The arrival of Mozart's father and sister at Munich brings us to a detailed account of the performance of "Idomeneo" PERFORMANCE, JANUARY 29, 1781. and its success. The "Munich Literary and Miscellaneous News" (February 1, 1781, No. XIX., p. 76) announced it briefly as follows:—
On the 29th ult. the opera of "Idomeneo" was performed for the first time in the new opera-house. The adaptation, music, and translation all proceed from Salzburg. The scenery, including a view of the harbour and Neptune's temple, are among the masterpieces of our well-known theatrical architect, the Herr Councillor Lorenz Quaglio.[ 8 ]
All that we read, however, of the success of the opera in rehearsal leaves us no doubt that it met with a very favourable reception.