In spite of all L. Mozart's exertions the unceasing slanders issuing from "the stirred-up hell of music" reached at last the artists who were to represent the opera. The orchestra were encouraged to resent the leadership of a boy; the singers, although they had one and all declared themselves fully satisfied with the music, now that they saw the strength of the opposition, began to fear the effect of the opera before the public. It became their interest to postpone its production, and to shrug their shoulders over the composition whenever they saw an opportunity. L. Mozart complains bitterly of the duplicity of the singers, some of whom scarcely knew their notes, and had to learn everything by ear, and assures Count Zeil, who thought that all the musicians were in Wolfgang's favour, that he must not judge from the outside, but must learn the "innate malice of the creatures." Soon the impresario, who had undertaken the production of the opera chiefly on account of the effect likely to be produced by the boyish age of the composer, began to reflect on {THE FIRST OPERA IN VIENNA.} (72) the risk he was running, and to draw back. Affügio was an adventurer and a gambler, who had procured an officer's commission by swindling, and had risen to be lieutenant-colonel; his utter want of sympathy with art was illustrated by the anecdote that being present at a bull-baiting where two dogs were pitted against a Hungarian ox, he remarked to a friend, "Believe me, I prefer these dogs to Aufrene and Neuville" (two excellent actors, then high in favour with him).[16] His name acquired an unhappy immortality by the share which he took more than once in the struggle of the legitimate drama against the buffoonery of the age.[17] He was at last sent to the galleys for forgery, and there ended his career.[18] With such a man as this had Mozart to do. He postponed the opera on every possible pretext from Easter to Whitsuntide, then to the Emperor's return from Hungary, and so on continually, putting one opera after the other into rehearsal, and as often as L. Mozart wrung from him the order to copy and rehearse Wolfgang's opera, so often was it secretly recalled. The Emperor's interest in the work remained unabated, and he frequently inquired after its progress from Wolfgang; but even his influence could not prevail against Affligio, who held his position quite independent of the court. He had the theatre on a lease, and bore all the expenses, the imperial family having the privilege of free ingress.