hard at work at the "cursed dances" until the middle of January, and had no time to think of anything else, not even of his own health. It was not until January 18 that he could write: Laus Deo, at last I have come to an end of it!" Amid rehearsals and anxious labours, the day of representation drew near. L. Mozart had been concerned lest the death of the Empress Maria Theresa on November 29, 1780, should put a stop to it, but Wolfgang reassured him by saying that none of the theatres had been closed on this account. Soon after he was terrified by a rumour that the Electress was dangerously ill, but discovered this to be a "lie from beginning to end." At first January 20, 1781, was fixed for the performance, then the 22nd, and finally January 29; the last rehearsal was to be on the 27th, Wolfgang's birthday; he was pleased at the postponements: "The opera can be oftener and more carefully rehearsed." The fame of "Idomeneo," which had reached Salzburg even before its performance, was a great source of satisfaction to Mozart's friends; Dr. Prexl, for instance (Vol. II., p. 84), wrote to him of the "inexpressible satisfaction" with which he had learnt the honour done by Wolfgang to Salzburg, and more than one friend undertook the journey to Munich in order to be present; among these were Frau Robini and her family, two Fräulein Barisani, and Fiala, from the Kapelle. L. Mozart, who was "as pleased as a child about the excellence of the orchestra," intended to go to Munich with his daughter as soon as he could arrange to be absent. But as he dared not risk a refusal from the Archbishop, and it was rumoured that the latter meditated a journey to Vienna, he waited his time. It suited him very well that the first performance was postponed until Hieronymus had actually left Salzburg. This being so, he set out on January 26 to be present at the last rehearsal and the performance. Wolfgang had arranged that his father and sister should find accommodation at his own lodging (in the Burggasse), if they would be contented to live for the time "like gipsies or soldiers." The arrival of Mozart's father and sister at Munich brings us to a detailed account of the performance of "Idomeneo" {PERFORMANCE, JANUARY 29, 1781.} (141) and its success. The "Munich Literary and Miscellaneous News" (February 1, 1781, No. XIX., p. 76) announced it briefly as follows:-- On the 29th ult. the opera of "Idomeneo" was performed for the first time in the new opera-house. The adaptation, music, and translation all proceed from Salzburg. The scenery, including a view of the harbour and Neptune's temple, are among the masterpieces of our well-known theatrical architect, the Herr Councillor Lorenz Quaglio.[8] All that we read, however, of the success of the opera in rehearsal leaves us no doubt that it met with a very favourable reception.