opera.[11] In December, 1777, he resolved to make a modest beginning with the forces which he had at his command. Umlauf, tenorist in the orchestra, had written the little operetta of "Die Bergknappen," in which only four characters appeared. The principal part was intended for Mdlle. Cavalieri, the second for Madame Stierle; the male parts were to be undertaken by Ruprecht, the tenor singer, and Fuchs, the bass; the chorus was composed of church choristers, and the management was entrusted to Müller, the actor. The rehearsals were very carefully made, and the Emperor having expressed his satisfaction at a dress rehearsal, the German opera was opened with "Die Bergknappen" on February 18. 1778. The performance was highly successful,[12] and in the course of the following year fourteen operas or vaudevilles were performed, partly translations, with Italian or French music, such as "Robert und Kalliste" ("La Sposa Fedele"), by Guglielmi; "Röschen und Colas," by Monsigny; "Lucile," "Silvain," "Der Hausfreund," by Grétry; "Anton und Antonette," by Gossec; and partly original pieces composed in Vienna, such as "Die Apotheke," by Umlauf; "Die Kinder der Natur," by Aspelmeyer; "Frühling und Liebe," by Ulbrich; and "Diesmal hat der Mann den Willen," by Ordonnez. The only singer of lasting reputation who took part in the first opera was Katharina Cavalieri (1761-1801). Daughter of a poor schoolmaster named Cavalier in Währing, her talent was perceived and cultivated by Salieri, and she appeared in Italian opera as early as 1775. She soon became a bravura singer of the first rank.[13] It was clearly necessary that she should be well supported if the opera was to compete with the drama proper. The first wife of the {GERMAN OPERETTA.} (191)