Leipzig, in 1765, did he give his serious attention to vaudeville. Weisse revised his old opera of "Der Teufel ist los," which, with partially new music by Hiller, was performed in 1766, and received with fresh applause.[9] Koch found in Joh. Ad. Hiller what had always hitherto been wanting, viz., a composer of good musical and general education, having a decided talent for light, easy, and characteristic music (more especially comic music), and full of zeal for the elevation of the national art. He endeavoured to make another step in advance, and by the composition of Schieb-ler's romantic poem of "Lisuart and Dariolette" (performed November 25, 1766) to lay the foundation of serious German opera.[10] Educated in the tradition of Hasse and Graun, with the additional influence of Ph. Em. Bach, he followed with interest the attempts to gain favour for Italian music in Paris by reconciling it with the demands of French taste; and he wished to establish a national German opera on the same principles. He denied that the German language was unfitted for song, if only the poet would take the trouble of accommodating it to the music, and if artists were trained for German singing with as much care as for Italian. Since German taste was more Italian than French, but the French were superior to the Italians in dramatic treatment, a French plan in Italian form was most likely to be approved of by Germans.[11] The insufficient appointments of the Leipzig stage must, however, have dissuaded him from any idea of a grand opera. To this was added his connection with Weisse, who during his residence in Paris had taken a lively interest in the comic opera, and had exerted himself to transplant it into Germany.[12] His first opera, "Lottchen am Hofe," after "Ninette ä la Cour," and "Die Liebe auf dem Lande," after "Annette et {DIE ENTFÜHRUNG AUS DEM SERAIL.} (218)