In 1784 the German opera in Vienna was almost extinct. Aloysia Lange chose Mozart's "Escape from the Seraglio" for her benefit, and the composer directed it; Gluck's "Pilgrimme von Mekka" was given, as well as Benda's melodramas. The next year it was proposed to reinstate German opera in competition with the Italian, and the scheme was carried out, but the performances were not equal to those of the Italian opera, and Mozart was not pitted by the Emperor as a native composer against the foreigner Salieri. For a festival in 1786 dramatic performances were ordered in Italian and German, and Mozart wrote the music for "Der Schauspieldirector" (The Theatre Director), while Salieri was more fortunate in his text. The Italian operas were popular with the court and the people, and the better singers went over to the Italian side. Paesiello and Sarti were welcomed heartily in Vienna, and their operas received the patronage of the Emperor. Mozart's prospects as an operatic composer were gloomy, until in 1785 he was seriously benefited by his acquaintance with Lorenzo da Ponte, abbé, poet, and rake. This singular man was appointed theatrical poet by Joseph II. through the influence of Salieri. He quarreled with his benefactor, who engaged a rival as his librettist. Da Ponte looked about for a composer with whom he could join against his enemies, and he entered into negotiations with Mozart. Beaumarchais' comedy, "Le Mariage de Figaro," had finally been put on the stage of the Théâtre-Français in April, 1784; it was exciting popular attention; and Mozart wished an adaptation for his music. The adaptation would be an easy task, but the comedy itself was not allowed in the Vienna Theatre. The poet was in the good graces of the Emperor and he confided the plan to him. Joseph admitted that Mozart was a good instrumental composer, said that his opera did not amount to much, called Mozart to him, heard portions of the work, and ordered that it should be put into rehearsal immediately. If we believe the account given by Da Ponte, the whole opera was finished in six weeks. There was a strong cabal, with Salieri at the head, against the production, but it was brought out May 1st and with overwhelming success. Michael Kelly, who sang the parts of _Basilio_ and _Don Curzio_, gives interesting accounts of the rehearsals and the performance in his "Reminiscences." "Never was anything more complete than the triumph of Mozart." At the second performance five pieces were repeated: at the third, seven; "one little duet had to be sung three times," we learn from a letter of Leopold Mozart. In November Martin's "Cosa Rara" pleased "the fickle public" mightily, and during 1787 and 1788 "Figaro" was not given. It was first performed in Berlin, Sept. 14, 1790: the critics praised it: the people preferred Martin and Dittersdorf. It was heard later in all the great towns of Europe (Paris, 1793; London, 1812, with Catalani as _Susanna_); in Prague it was heard at