48 ([return])
[ Südd. Zeitg. f. Mus., 1861, p. 24.]
49 ([return])
[ H. Berlioz (Voy. Mus., II., p. 267) characterises Mozart as the master who, above all others, followed in Gluck's footsteps.]
50 ([return])
[ Tieck, Dramaturg. Blatter, II., p. 325.]
FOOTNOTES OF CHAPTER XXXVII.
1 ([return])
[ Gyrowetz, Selbstbiogr., p. 14.]
2 ([return])
[ "Figaro" was first performed in Berlin, September 14, 1790 (Schneider, Gesch. d. Oper, p. 59), and praised by the critics as a masterpiece, while the ordinary public preferred Martin and Dittersdorf (Chronik von Berlin, VIII., pp. 1229, 1244. Berl. Mus. Monatsschr., 1792, p. 137). "Figaro" had no greater success in Italy than others of Mozart's operas: "Mozart's operas, at the hands of the Italian comic singers and the Italian public, have met with the fate which would befall a retiring sober man introduced to a company of drunkards; the rioters would be sure to treat the sober man as a fool" (Berl. Mus. Ztg., 1793, p. 77). Thus, failure was reported from Florence (A. M. Z., III., p. 182) and Milan (A. M. Z., XVII., p. 294). "Figaro" has lately been on the repertory of the Italian Opera in Paris; since the unfortunate experiment in 1792 (p. 77, note), the opera has been given in French at the Théätre Lyrique (1858), with the most brilliant success (Scudo, Crit. et Litt. Mus., II., p. 458). "Figaro" was first performed in London in 1813 (Catalani sang Susanna—Parke, Mus. Mem., II., p. 82), and kept its place as one of the most favourite of operas.]