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[ In a Musikalischer Briefwechsel (Berlin Mus. Ztg., 1805, p. 293) the opera, both words and music, are severely criticised by "Arithmos," who is then in his turn ridiculed as a Philistine by "Phantasus," and the opera praised as a model of genuine irony. E. T. A. Hoffmann, too, who places the essence of comic opera in the fantastical, considers that the much-abused text of "Cosi fan Tutte' is genuinely operatic (Serapionsbrüder, I., 2, 1, Ges. Schr., I., p. 120).]
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[ Cf. A. von Wolzogen, Deutsche Mus. Ztg., 1861, p. 137.]
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[ In this form the opera was performed in Berlin, and again in 1822 at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).]
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[ Morgenblatt, 1856, No. 4, p. 75.]
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[ This has occasioned the displacement of some of the songs, not always to their disadvantage. This version is not only far superior to all that preceded it, but is excellent in itself by reason of its taste and cleverness and careful regard for musical requirements.]