When, now, Mozart’s prospects for an opera were becoming obscured--we have no certain information as to the causes of this, but may safely assume that the well-known abbe Vogler, _Capellmeister_, in Mannheim, Mozart’s life-long opponent and even enemy, was not without influence here--and there was little promise of the realization of his hopes, it would have been very natural that he should think of pursuing his journey further, especially as Paris was now not so far away. Some of the musicians of the orchestra, Wendling, Ramm and Lang proposed to him to go there with him in the Lenten season and give a concert with him. They thought that their influence would help him to get orders for all kinds of composition, and even for an opera. And, to keep him, for the time being, in Mannheim, spite of his having himself written to his father that the elector did nothing for him, they endeavored to procure pupils and compositions for him. Added to this was an event which strongly engaged him to stay, the rehearsal of another German opera, “Rosamunde,” by Wieland; and it is of interest to learn what Mozart, with that frankness which characterized him, had to say of other celebrated men of that period. His description of Wieland can scarcely be called flattering. He describes him a man, “with a rather child-like voice, looking steadily through his glasses, with a certain learned coarseness, and occasionally stupid condescension.” Yet he excuses the poet because the people of Mannheim looked upon him as upon an angel dropped down from heaven. Besides, Wieland did not yet know the artist himself, and may, therefore, not have treated him in a becoming manner. For, soon afterwards, we read in one of his letters: “When Herr Wieland had heard me twice, he was charmed. The last time, after paying me all possible kinds of compliments, he said: ‘It is a real good fortune for one to have seen you!’--and he pressed my hand.” Wieland had, by his appeal in the “Essay on the German opera,” in the _Deutsche Merkur_ in 1775, become the principal representative of those who were endeavoring to create a German national opera, and thus Mozart’s meeting with him was of the utmost importance, and had a great influence in promoting the end contemplated. The performance of “Rosamunde” was, however, prevented by the sudden death of the elector, Maximilian III. of Bavaria, as Karl Theodore had to go to Munich about New Year’s. Still, the idea of a German opera continued a motive power in Mozart’s soul. He even now writes about the intention of the Emperor Joseph II. to establish such an opera in Vienna, and of his looking seriously about for a young _Capellmeister_ with a knowledge of the German language, one possessed of genius, and able to produce something entirely new. The man who was one day to compose the “Elopement from the Seraglio,” and the “Magic Flute,” exclaims: “I think that there is there a task for me.”