There was still wanting the tenor Cardoni, and news at length arrived that he was so seriously ill he could not appear. Suitable messengers were at once despatched to Turin and Bologna, to seek for another good tenor, who was to be not only a good singer, "but especially a good actor, and a person of presence, to represent Lucio Silla with proper dignity." But such an one was not to be procured, and there was nothing for it at last but to take a church singer from Lodi, Bassano Morgnoni, who had occasionally sung in the theatre there, but never on a larger stage. He arrived on December 17, when the rehearsals were going on, and the following day Wolfgang wrote two of the four songs allotted to him. On December 21, 22, and 23 there were large parties of the nobility at Count Firmian's, at which vocal and instrumental music was performed from five o'clock in the evening until eleven. Wolfgang played each time, and was favourably noticed by all the great people. The grand rehearsal passed off well; and the first representation on December 26, in spite of some drawbacks, was a great success. The opera began, according to custom, an hour after Ave Maria, and at half-past five the theatre was {PERFORMANCE OF "LUCIO SILLA."} (143) quite full. Just before Ave Maria the Archduke had risen from table, and retired to despatch five autograph congratulations on the New Year to Vienna; as might be expected, this took some time. The performers, male and female, in all the agitation of a first performance, and the hot impatient public were obliged to wait the arrival of the court until past eight o'clock. Unhappily the Lodi tenor had to express his anger by gestures during the prima donna's first song; in his efforts to surpass himself he gesticulated so wildly, "that he appeared to wish to box her ears, or hit her in the face with his clenched fist." Thereupon a laugh broke out; this confused De Amicis, who did not know for whom it was intended, and she sang ill the whole evening, especially after Rauzzini had been received on his first entry with applause from the Archduchess. Rauzzini had contrived to inform the Archduchess that he should be nervous at singing before her, and so had assured himself of the applause of the court. De Amicis was consoled by an invitation to court the next day, and then the opera went altogether well. It was given more than twenty times to houses so full "that one could scarcely squeeze in." Each time some of the songs were encored, generally the prima donna's, which had "the upper hand."[80] Wolfgang wrote a motett, "Exultate," for Rauzzini, (165 K.), which was performed before the actors on January, 1773. It is on the plan of a great dramatic scene, and maintains that style throughout. To a long and elaborate allegro succeeds a short recitative leading to a long, simple slow movement. The finale is an animated "Alleluia," cheerful and brilliant. Later (February 6) his father says he is busy with a quartet.