To these may be added the Lent Concerts, which were also then occupying him. There were other difficulties to be overcome before the performance, of which we hear nothing from Da Ponte, but which are related by Kelly:—
There were three operas now on the tapis, one by Righini ("ü Demo-gorgone"), another by Salieri ("La Grotta di Trofonio"), and one INTRIGUES AGAINST "FIGARO." by Mozart, by special command of the Emperor. Mozart chose to have Beaumarchais' French comedy, "Le Mariage de Figaro," made into an Italian opera, which was done with great ability by Da Ponte. These three pieces were nearly ready for representation at the same time, and each composer claimed the right of producing his opera for the first. The contest raised much discord, and parties were formed. The characters of the three men were all very different. Mozart was as touchy as gunpowder, and swore that he would put the score of his opera into the fire if it was not produced first; his claim was backed by a strong party. Righini, on the contrary, was working like a mole in the dark to get precedence. The third candidate was Maestro di Capella to the court, a clever, shrewd man, possessed of what Bacon called "crooked wisdom"; and his claims were backed by three of the principal performers, who formed a cabal not easily put down. Every one of the opera company took part in the contest. I alone was a stickler for Mozart, and naturally enough, for he had a claim on my warmest wishes, from my adoration of his powerful genius and the debt of gratitude I owed him for many personal favours. The mighty contest was put an end to by his majesty issuing a mandate for Mozart's "Nozze di Figaro" to be instantly put into rehearsal.
A slight error has crept in here, for Salieri's opera was given first on October 12, 1785; but this account confirms the fact of the Emperor's interference. Mozart's claims were supported by the distinguished company of amateurs who arranged a representation of "Idomeneo" at the Auersperg Theatre in March (Vol. II., p. 289). The fact that his friends Count Hatzfeld (Vol. II., p. 291) and Bridi (Vol. II., p. 359) took his part in the dispute shows that it was intended to put Mozart forward as a composer of Italian operas, and that powerful support was considered necessary for the purpose. His father had cause therefore to write to his daughter (April 18):—
On the 28th, "Le Nozze di Figaro" is to be put on the stage for the first time. It will mean much if it succeeds, for I know that there has been a surprisingly strong cabal against it. Salieri and all his adherents will move heaven and earth against it. Duschek told me lately[ 42 ] that my son met with such violent opposition because of his extraordinary talent and cleverness.
Niemetschek (p. 37) goes so far as to assert that it was commonly reported that the Italian singers did all they could to ruin the opera on its first performance by intentional mistakes and carelessness, and that they had to be sternly reminded of their duty by the Emperor, to whom Mozart appealed in despair at the end of the first act. Kelly says nothing of this; he maintains, on the contrary, that never was opera so strongly cast, and that all the subsequent performances he had seen were no more to be compared to the original one than light is to darkness:[ 43 ]—
All the original performers had the advantage of the instruction of the composer, who transfused into their minds his inspired meaning. I never shall forget his little animated countenance, when lighted up with the glowing rays of genius; it is as impossible to describe it as it would be to paint sunbeams. I remember at the first rehearsal of the full band Mozart was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra. Figaro's song "Non più andrai" Benucci gave with the greatest animation and power of voice. I was standing close to Mozart, who, (sotto voce), was repeating: "Bravo! bravo, Benucci!" and when Benucci came to the fine passage, "Cherubino, alla vittoria, alia gloria militar!" which he gave out with stentorian lungs, the effect was electricity itself, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated: "Bravo! bravo, maestro! viva, viva, grande Mozart!" Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against the music-desks. The little man acknowledged by repeated obeisances his thanks for the distinguished mark of enthusiastic applause bestowed upon him.
The following was the cast of the first performance, according to Mozart's Thematic Catalogue—the original libretto is unfortunately lost:[ 44 ]—[See page images]
The reception of the opera by the public on its first performance (May 1, 1786) was such as to justify the most favourable anticipations.[ 45 ] "Never was anything more complete," says Kelly, "than the triumph of Mozart and his 'Nozze di Figaro.'" The house was crowded, and many pieces were encored, so that the opera lasted twice the usual time; but that did not prevent long-continued applause and repeated calls for Mozart at the close of the performance. L. Mozart wrote to his daughter on May 18: "At the second performance of your brother's opera (May 3) five pieces were encored, and on the third (May 8) seven; one little duet had to be sung three times."[ 46 ] The opera, therefore, was a decided success; too much so, indeed, for many people, and the Emperor was persuaded, after the first performance, to forbid any piece to be encored, under the pretence of sparing the singers and the conductor. Kelly narrates how the Emperor, after issuing this prohibition, addressing himself at a rehearsal to Storace, Mandini, and Benucci, said:[ 47 ] "I LE NOZZE DI FIGARO. dare say you are all pleased that I put a stop to encores; it must be fatiguing and distressing to you to repeat so many songs." Storace replied: "It is indeed, sire, very distressing." The other two bowed, as if in assent; but Kelly, who was standing by, said boldly to the Emperor: "Do not believe them, sire, they all like to be encored; at least I am sure I always do"; whereupon the Emperor laughed. Mozart's enemies found it impossible to drive the opera completely from the stage, but they took care that it should not be given often enough to take firm hold of the public favour. Nevertheless, it reached nine performances within the year, though with long intervals between them (May 1, 3, 8, 24, July 4, August 28, September 22, November 15, December 18). On November 17 Martin's "Cosa Rara" (after so strong an opposition on the part of the singers, that the Emperor was obliged to compel them to sing)[ 48 ] achieved an unprecedented success. This threw "Figaro" somewhat into the shade, both in the public estimation and in the Emperor's opinion; the latter told Dittersdorf that Mozart overweighted the singers with his full accompaniments;[ 49 ] Martin's easy and taking melodies were far more to the royal taste. During 1787 and 1788 "Figaro" was not given at all in Vienna,[ 50 ] and was not reproduced until August 29, 1789.
