Turning to the burlesques of opera of the German school, we begin, naturally, with Mozart, whose "Don Giovanni" found humorous reflection in two pieces, by H. J. Byron and Mr. Reece. The former's "Little Don Giovanni"[45] belongs to 1865, when it was performed at the Prince of Wales's, with Miss Wilton (Mrs. Bancroft) as the hero, Clarke as Leporello, Miss Fanny Josephs as Masetto, Mr. Hare as Zerlina (probably his only appearance on the stage in petticoats), Miss Sophie Larkin as Elvira, and Miss Hughes as Donna Anna. Don Giovanni was the last burlesque part written by Byron for Miss Wilton, and, moreover, it was the last burlesque part she ever played. She records in her Memoirs that an amusing feature of the piece was the spectacle presented in the last act by the Commandant's horse, which, in allusion to a recent freak in Leicester Square, had been covered with a variety of spots, and "looked like an exaggerated Lowther Arcade toy." Mr. Reece's burlesque was called "Don Giovanni in Venice," and came out at the Gaiety in 1873. [45] Byron's "Don Juan," brought out at the Alhambra in 1873, was about equally indebted for its plot to the libretto of Mozart's opera and to Lord Byron's poem. In 1842 Macready revived at Drury Lane Handel's delightful "Acis and Galatea," and the opera was promptly caricatured by W. H. Oxberry in a piece produced three days afterwards at the Adelphi. The travestie of "Acis and Galatea" which was seen at the Olympic in 1863 was from the pen of Mr. Burnand. Its full title was "Acis and Galatea, or the Nimble Nymph and the Terrible Troglodyte"; and the Nimble Nymph (described as "a Nymph of the Sea, who also visits the land--a nymphibious young lady") was played by Miss Hughes. The puns were prolific, and so were the parodies, the best of which are written in caricature of the absurd English translations in the operatic "books of the play." Here, for example, is a setting of the trio in "Trovatore"--"Il tuo sangue":-- _Polyphemus._ With you, oh, sanguine, I'd share your 'art, oh! 'Twould be a stinger, ho! if no go. (_As to her_) Dear! (_as to himself_) Oh, folly! be calm, oh! I'm misty! (_Holding his hands over his bursting heart--operatically singing_). Eh, pooh, we've here a lump, oh! (_alluding to his heart_). No, eh, pooh, we've 'ere a Lump, oh no. Ah! de gal, oh, so de gal, oh, so coy, press 'art to (_enraptured_) And it may then end in no go! (_with a tinge of sadness_). And it may then end in no go! I'm a gent, oh, over-misty (_with his hand to his heart_), Cease of her to be fond, ah, no! No! fond! ah! no! Ah! etc. _Phyllis._ {Come, ah! come, will you o-ver-awe, eh? (_fiercely_). _Galatea._ {Come, ah! come, will you o-ver-awe me? (_distractedly_).