During this visit to Milan they made the acquaintance of the great soprano, Catarina Gabrielli, famed for her intrigues no less than for her musical genius. The impression made by her on Wolfgang may be gathered from a letter to his father written later from Mannheim (February 19, 1778):-- Those who have heard Gabrielli must and will acknowledge that she is a mere executant; her peculiar style of delivery excites admiration, but only for the first three or four times of hearing her. In the long run she is not pleasing; one gets tired of passages, and she has the misfortune of not being able to sing. She cannot sustain a note in tune; she has no _messa di voce_; in a word, she sings with art, but no understanding. The intercourse of the Mozarts with their fellow-artists, "really good and famous singers, and sensible people," was cordial, and undisturbed either by intrigues or cabals. Wolfgang's assured position with regard to the public, as well as the favour in which he was held at the imperial court, doubtless contributed to preserve harmony. The tenor Tibaldi and Manzuoli, who was really engaged this time, came almost daily at 11 o'clock, and remained sitting at the table till one; Wolfgang composing all the time. But the most satisfactory connection was that with Hasse, who was composing an opera on Metastasio's "Ruggiero," for the same festive occasion.[60] It was of no small significance {THE ITALIAN TOUR.} (136) that men like Hasse and Metastasio, who had brought Italian opera to its highest point, and a famous poet, such as Gius. Parini, in Milan,[61] should have been content to place themselves on a level with young Mozart. It was momentous in the history of music, this handing over of the sceptre by the man who had ruled the Italian stage throughout his long career to the youth, who was not indeed destined to acquire equal fame living, but to whom posterity was to allot a far more glorious place. Hasse himself is said to have exclaimed: "This boy will throw us all into the shade."[62] It was like him to recognise without envy the artistic greatness of Mozart; all young artists[63] found him ready to appreciate and help forward their efforts,[64] and Mozart himself had been grateful for his support when fighting with the musical cabal in Vienna.[65] The festivities[66] which had attracted a crowd of strangers to Milan began with the triumphant entry of the Duke, followed by the marriage ceremony in the cathedral; then came a concert and reception at court. On the 16th a public banquet was given to more than four hundred bridal couples, to whom the Empress had given dowries, and in the evening Hasse's opera "Ruggiero" was performed in the newly decorated theatre, with two gorgeous ballets in the _entr'actes_, "La Corona della gloria," by Pick, and "Pico e Canente," by Favier.