In the finale of the first act Teresa Bondini as Zerlina failed to utter the cry for help in a sufficiently spontaneous manner. After many vain attempts, Mozart went himself on to the stage, had the whole thing repeated, and at the right moment gave the singer so unexpected and severe a push that she shrieked out in alarm. "That's right," he exclaimed, laughing, "that is the way to shriek!" The words of the Commendatore in the churchyard scene were originally, it is said, accompanied only by the trombones. The trombone-players failing to execute the passage, Mozart went to the desk, and began to explain how it might be done, whereupon one of them said: "It cannot be played in that way, nor can even you teach us how to do it." Mozart answered, laughing: "God forbid that I should teach you to play the trumpet; give me the parts, and I will alter them." He did so accordingly, and added the wood wind instruments.[ 17 ]
A good omen for the reception of the new opera was afforded by a brilliant performance of "Figaro" on October 14,[ 18 ] under Mozart's direction, in honour of the bride of Prince Anton of Saxony, the Archduchess Maria Theresa of Toscana, who was passing through Prague on her wedding tour.[ 19 ] Nevertheless, Mozart himself felt far from secure of the success of "Don Giovanni"; and after the first rehearsal, while taking a walk with the orchestral conductor Kucharz, he asked him in confidence what he thought of the opera, and whether it was likely to achieve so decided a success as that of "Figaro." Kucharz answered that he could entertain no doubt of the success of such fine and original music, and that anything coming from Mozart would meet with ready recognition from the Prague public. Mozart declared himself satisfied with such an opinion from a musician, and said he was ready to spare neither pains nor labour to produce a work worthy of Prague.[ 20 ]
Thus approached the day of performance, October 29 (not November 4), 1787; and on the previous evening the overture was still unwritten, to the great consternation of Mozart's assembled friends. We have already told (Vol. II., p. 414) how he parted late from the merry company, and sat down to write with a glass of punch before him, and his wife telling him stories by his side; how sleep overcame him, and he was obliged to lie down for several hours before completing his task; and how the copyist was sent for at seven o'clock in the morning, and the overture was ready at SUCCESS IN PRAGUE
the appointed time.[ 21 ] There was barely time to write out the parts before the beginning of the opera, which indeed was somewhat delayed on this account. The well-drilled and inspired orchestra played the overture at sight so well that, during the introduction to the first act, Mozart observed to the instrumentalists near him: "Some of the notes fell under the desks, it is true, but the overture went capitally upon the whole." The success of the first representation was brilliant. The theatre was full to overflowing, and Mozart's appearance as conductor at the piano was the signal for enthusiastic clapping and huzzas. The suspense with which the overture was awaited found vent in a very storm of applause, which accompanied the opera from beginning to end. The cast of this performance was as follows:—[See Page Images]
The performance, though not including any virtuosi of the first rank or fame, was considered an excellent one; the inspiring influence of the maestro and the elevated mood of the public united to induce the performers to put forth all their powers, and stimulated them to extraordinary efforts. Guardasoni, who was associated with Bondini in the management of the theatre,[ 22 ] was so delighted with the success of DON GIOVANNI. the opera that he announced it to Da Ponte (who had been obliged to hurry back to Vienna to put "Axur" upon the stage) in the words: "Evviva Da Ponte, ewiva Mozart! Tutti gli impresari, tutti i virtuosi devono benedirli! finchè essi vivranno, son si saprà mai, cosa sia miseria teatrale."[ 23 ] Mozart also communicated to' Da Ponte the happy result of their joint labours, and wrote to Gottfried von Jacquin (November 4, 1787):—
Dearest Friend,—I hope you have received my letters. On October 29, my opera, "Don Giovanni," was put in scena, with the most unqualified success. Yesterday it was performed for the fourth time, for my benefit.
I intend to leave here on the 12th or 13th, and as soon as I arrive in Vienna you shall have the airs to sing. N.B.—Between ourselves—I only wish my good friends (particularly Bridi and yourself) could be here for a single evening to share in my triumph. Perhaps it will be performed in Vienna. I hope so. They are trying all they can here to persuade me to remain two months longer, and write another opera; but flattering as the proposal is, I cannot accept it.[ 24 ]
Mozart met with constant and unequivocal proofs of esteem on all sides during his visit to Prague; an esteem, too, not of mere fashion or prejudice, but founded on a genuine love of art; he gave himself up unreservedly to the pleasure afforded him by intercourse with his friends and admirers; and many of these retained long after, as Niemet-schek says (p. 93), the memory of the hours passed in his society. He was as artless and confiding as a child, and overflowing with fun and merriment; it was difficult for SONG FOR MADAME DUSCHEK, 1787. strangers to realise that they were in the society of the great and admired artist.
Mozart had promised his friend, Madame Duschek, that he would compose a new concert air for her; as usual, however, he could not be brought to the point of transcribing it. One day she locked him into a summer-house on the Weinberg, and declared she would not let him out until he had finished the air. He set to work at once, but having completed his task, retorted that if she could not sing the song correctly and well at first sight, he would not give it to her.[ 25 ] In truth, the words: "Quest' affanno, questo passo è terribile," in the andante of this song ("Bella mia fiamma," 528 K., part 2) are rendered after a highly characteristic manner; and the intervals for the voice, not easy in themselves, become, by their harmonic disposition, a severe test of pure and correct intonation. Altogether, this is one of the most beautiful of Mozart's concert airs; it makes no great claims on the singer's powers of execution, but it requires a soprano voice of considerable compass and power, and a grand and expressive delivery. It is interesting to observe how this song, animated and energetic as it is in expression, yet differs essentially from the properly dramatic music of "Don Giovanni." Unconnected with any plot, and not designed for the stage, the situation adopts a modified character, the concert singer being in a totally different position from the actor; and the form in which the composer clothes his conception is suitably modified also. On November 15, 1787, immediately after Mozart's return to Vienna, Gluck died; and the success of "Don Giovanni" in Prague may have contributed to induce Joseph II. to retain Mozart in Vienna by appointing him Chamber-Musi-cian (Kammermusikus) on December 7, 1787. For the present, however, there was no prospect of a performance of "Don Giovanni" in Vienna.