The theatrical public of Vienna at the time of which we are speaking had the reputation of being attentive, discerning, and appreciative, ready and liberal in its acknowledgment of what was good.[ 9 ] And in truth it had cause. Shortly before Mozart came to Vienna, Schroder and his wife had set the crown on admirable acting; and associated with them were Müller, Lange, Weidman, Brockmann, Jacquet, Bergopzoomer, the brothers Stephanie, Mesdames Weidner, Adamberger, Jacquet, Sacco, Stierle, Rouseul—affording proof that Mozart did not overrate the talent of his contemporaries.[ 10 ]
In the same spirit in which he had founded the national theatre Joseph II. abolished the costly spectacular ballet and the Italian opera. In the place of the latter he instituted a "national vaudeville," as he called the German FIRST ATTEMPTS IN VIENNA. opera.[ 11 ] In December, 1777, he resolved to make a modest beginning with the forces which he had at his command. Umlauf, tenorist in the orchestra, had written the little operetta of "Die Bergknappen," in which only four characters appeared. The principal part was intended for Mdlle. Cavalieri, the second for Madame Stierle; the male parts were to be undertaken by Ruprecht, the tenor singer, and Fuchs, the bass; the chorus was composed of church choristers, and the management was entrusted to Müller, the actor. The rehearsals were very carefully made, and the Emperor having expressed his satisfaction at a dress rehearsal, the German opera was opened with "Die Bergknappen" on February 18. 1778. The performance was highly successful,[ 12 ] and in the course of the following year fourteen operas or vaudevilles were performed, partly translations, with Italian or French music, such as "Robert und Kalliste" ("La Sposa Fedele"), by Guglielmi; "Röschen und Colas," by Monsigny; "Lucile," "Silvain," "Der Hausfreund," by Grétry; "Anton und Antonette," by Gossec; and partly original pieces composed in Vienna, such as "Die Apotheke," by Umlauf; "Die Kinder der Natur," by Aspelmeyer; "Frühling und Liebe," by Ulbrich; and "Diesmal hat der Mann den Willen," by Ordonnez.
The only singer of lasting reputation who took part in the first opera was Katharina Cavalieri (1761-1801). Daughter of a poor schoolmaster named Cavalier in Währing, her talent was perceived and cultivated by Salieri, and she appeared in Italian opera as early as 1775. She soon became a bravura singer of the first rank.[ 13 ] It was clearly necessary that she should be well supported if the opera was to compete with the drama proper. The first wife of the GERMAN OPERETTA. actor Lange, Mariane Schindler, was secured; but after having achieved great success in Grétr's "Hausfreund" and "Lucile," and bidding fair to become a main support of the opera, both by her singing and acting, she died in the winter of 1779.[ 14 ] The following summer, through the intervention of the ambassador, Count Hardeck, Aloysia Weber was summoned from Munich, and took her place, not only on the stage, but in the affections of Lange, who shortly after made her his second wife. Aloysia Weber made her début in the part of the Rosenmädchen of Salency, and was received with general approbation.[ 15 ] It was evident, therefore, that Mozart was not blinded by youthful inclination when, he declared her one of the first singers of her time, a judgment which posterity has ratified. The second parts had been allotted before her arrival to Theresa Teyber, afterwards Madame Arnold, who pleased by her fresh, youthful voice, while that of Madame Fischer (née Strasser), from Mannheim, a clever singer and good actress, was already somewhat past. In the summer of 1781 they had been joined by Madame Bernasconi (p. 130), by the desire, as it was said, of Gluck, who had used the influence of Count Dietrichstein to press her on the Emperor; but the position was not well suited to her talent. Mozart gives his opinion as follows (August 29, 1781):—
In the great parts of tragedy Bernasconi remains inimitable. But small operettas are not in her style at all; and then (as she acknowledges herself) she is more Italian than German, speaks on the stage with the same Viennese accent as in common life (just imagine!), and when she occasionally makes an effort it is as if one heard a princess declaim in a marionette theatre. And she sings so badly that no one will consent to compose for her.
And even before this (June 27, 1781) he had written derisively:—
She has three hundred ducats salary because she sings all her songs a division higher than they are written. It is really a great art, for she keeps well in tune. She has now promised to sing them half a tone higher, and then of course she will be paid more.
There were male singers also, who were quite on an equality with these female vocalists. Soon after the opening of the opera the tenors Souter and Dauer, a whimsical actor with a fine voice,[ 16 ] were engaged, and at a later date Adamberger, one of the most admirable tenors, a singer of artistic style and cultivation, and a "very respectable" actor of lovers' parts. Fischer was secured as a bass; the compass, strength, and beauty of his voice and his artistic cultivation, both as a singer and an actor, placed him in the very first rank among the singers of Germany. With him were associated Günther and Schmidt as bass singers, and Saal as a baritone.[ 17 ] There were thus all the materials required for the production of German operas, except a composer who could write them. Umlauf and some others who imitated him were not the men for such an undertaking. Gluck had composed nothing since his "Iphigenia in Taurus," and contented himself with putting on the stage, in 1780, "Die Pilgrimme von Mekka," a comic opera which had been written for Vienna with French words ("La Rencontre Imprévue") in 1764, and which was often played in its German adaptation.[ 18 ] In the following year, by the express command of the Emperor Joseph, Salieri wrote a German comic opera, "Der Rauchfangkehrer"[ 19 ] ("The Chimney-Sweep"), the text of which, by Dr. Auembrugger, was unusually bad;[ 20 ] but Salieri was too much of an Italian to have GERMAN OPERA. much effect on German opera. The operetta was assiduously cultivated in North Germany, and a long list of those which were produced might be given. But the contrast between North and South Germany, founded on their political and religious differences, was visible unpleasantly enough in literature and art, and had a marked influence on their musical sympathies and antipathies.[ 21 ] Nicolai relates that he had heard in Vienna many genuine and accomplished musical connoisseurs speak of Ph. Em. Bach not only with indifference, but with absolute dislike, and place Kozeluch and Steffan before all other clavier-players.[ 22 ] Adamberger, when asked his opinion concerning a celebrated singer from North Germany, answered that she sang like a Lutheran; and on being pressed for an explanation, replied, "I call it singing like a Lutheran to have a beautiful voice as the gift of nature, and even to have received a good musical education, as is frequently the case in North Germany, but to show no signs of study in the Italian school of music, through which alone the true art of singing can be learnt."[ 23 ]
There was little demand in Vienna, therefore, for the compositions which Hiller's successful enterprise with German opera had brought into being; the works of men such as Benda, Schweitzer, Wolf, Neefe, André, and Reichard; their operas were not performed, and still less was there any prospect of a field for their future labours in Vienna. Schweitzer was not summoned, in spite of Wieland's pressing recommendation (Vol. I., p. 406). G. Benda had shown himself not disinclined to remove to Vienna,[ 24 ] and report had pointed to him as probable kapellmeister in 1778,[ 25 ] but he had never been seriously thought of. It appeared, therefore, that a most fitting career stood open for Mozart, and he himself wished nothing more than to prove his powers in this branch of his art. He had brought with him his operetta FIRST ATTEMPTS IN VIENNA. "Zaide," in the hope of having it performed. The libretto, as he had feared, proved a stumbling-block (Vol. II.,p. 115); but the younger Stephanie, at that time inspector of the opera, formed so favourable an opinion of the music, that he promised to give Mozart a new and good piece, which he was to compose for the Vienna stage. His father warned him that Stephanie was not to be depended upon; and he was right. Stephanie the younger was an arrogant, selfish man, who had made himself hated everywhere by his intrigues and pretensions. Mozart knew that he was in ill repute, and was upon his guard. He resolved to write no opera without the express commission of Count Rosenberg, who had had supreme direction of the theatre since 1776; but Stephanie continued friendly, and there seemed no actual cause for personal distrust. Count Rosenberg had received Mozart well whenever he had waited upon him, and had joined in the applause of other connoisseurs upon the occasion of the performance of "Idomeneo" at the house of Countess Thun, Van Swieten and Sonnenfels being also among the audience. It was not long, therefore, before Mozart was able to announce to his father the good news (June 9, 1781) that Count Rosenberg had commissioned Schroder, the distinguished actor, to look out a good libretto, which was to be given to Mozart for composition. A few days afterwards Stephanie told him of a piece he had found in four acts, of which the first was excellent, but the others fell off, so that it was doubtful whether Schroder would undertake the adaptation of it. "They may settle that between them," wrote Wolfgang (June 16, 1781). The book was rejected, but the matter did not rest; the Emperor was evidently anxious to give Mozart an opportunity of trying his powers as a German operatic composer; and at the end of July the latter found himself at the goal of his wishes, and able to inform his father (August 1, 1781):—
Yesterday young Stephanie gave me a book for composition. It is very good; the subject is Turkish, and it is called "Belmont und Constance," or "Die Entführung aus dem Serail." The overture, the chorus in the first act, and the concluding chorus I shall compose in Turkish music. Mdlle. Cavalieri, Mdlle. Teyber, M. Fischer, THE "ENTFÜHRUNG. M. Adamberger, M. pauer, and M. Walter are to sing in the opera. I am so delighted at having it to compose that the first songs for Cavalieri and Adamberger and the terzet at the close of the first act are already finished. The time given is short, certainly, for it is to be performed in the middle of September, but the attendant circumstances will be all the more favourable. And indeed everything combines to raise my spirits, so that I hasten to my writing-table with the greatest eagerness, and it is with difficulty I tear myself away.
