It was composed by the witty and agreeable Madame Favart and Hamy,[40] and, without attempting to disparage the original, it transforms the Arcadian idealism of Rousseau's shepherds into the unromantic realism of country life. Genuine French peasants express appropriate sentiments in their patois, and the whole piece is rustic and natural. The dialogue is strung together by well-known melodies, as was always the case in vaudeville. The piece was highly applauded, owing its success in great measure to the lively and natural acting of Madame Favart. She was the first actress who ventured to appear in the genuine simple costume of a peasant woman, and her appearance in sabots created a great sensation. Her portrait was painted in this {THE FIRST OPERA IN VIENNA.} (90) character, and it had much to do in laying the foundation of her fame.[41] The parody was elaborated into a German operetta. In Vienna, low comedy had never entirely renounced the aid of music; Haydn composed his operetta "Der neue Krumme Teufel" for Kurz-Bemardon. When the more refined comic opera was introduced by Hiller, it was accepted and imitated in Vienna. In 1764 Weiskem translated Madame Favart's parody with some slight alterations,[42] and to this text Mozart composed the music.[43] The piece is a continuous dialogue, interrupted by isolated songs and duets at appointed places. These, consisting of eleven solo songs, three duets, and one terzet do not always correspond to those of Rousseau's opera, which was unknown to the adapter; many songs have several verses, of which Mozart has only transcribed the first. The French parody has been most unskilfully travestied, as will be seen by a comparison of the first song in its various forms. ROUSSEAU. J'ai perdu tout mon bonheur; J'ai perdu mon serviteur: Colin me délaisse. Hélas! il a pu changer! Je voudrois n'y plus songer: J'y songe sans cesse. MADAME FAVART. (Air: J'ai perdu mon äne.) J'ons pardu mon ami! Depis c' tems-là j'nons point dormi, Je n' vivons pû qu'à d'mi. J'ons pardu mon ami, J'en ons le cour tout transi, Je m' meurs de souci. {MOZART'S "BASTIEN ET BASTIENNE."} (91) WEISKERN. Mein liebster Freund hat mich verlassen, Mit ihm ist Schlaf und Ruh dahin; Ich weiss vor Leid mich nicht zu fassen, Der Kummer schwächt mir Aug' und Sinn. Vor Gram und Schmerz Erstarrt das Herz, Und diese Noth Bringt mir den Tod. The verses are equally tame and clumsy all the way through; and even taking into account the prevailing low standard of cultivation and taste, it is difficult to believe that this operetta could have been produced at a private house of any importance.[44] Mozart has given his music a strictly pastoral character, indicated, wherever possible, by its outward form. The orchestral introduction (Intrada) an Allegro (3-4) of about seventy bars, begins with a pastoral theme-- [See Page Image]