after his arrival in Paris. He had renewed his acquaintance with Noverre (p. 145), who, after giving up the direction of the ballet at Vienna in 1775, had, through the Queen's influence, been appointed ballet-master to the Grand-Opéra in 1776.[15] He took such a liking for Mozart that he not only invited him to his table as often as he chose, but commissioned him to write an opera. He proposed as a good subject, "Alexander and Roxane," and set a librettist to work at the adaptation of it. The first act was ready at the beginning of April; and a month later Mozart was in hopes of receiving the whole text. It had then to be submitted to the approbation of the director of the Grand-Opéra, De Vismes; but this did not seem to offer any difficulty, Noverre's influence being powerful with the director. As soon as L. Mozart heard of the prospect of an opera, he wrote (April 12, 1778):-- I strongly advise you, before writing for the French stage, to hear their operas, and find what pleases them. In this way you will become quite a Frenchman, and I hope you will be specially careful to accustom yourself to the proper accent of the language. And he continues to impress upon him (April 29, 1778):-- Now that you tell me you are about to write an opera, follow my advice, and reflect that your whole reputation hangs on your first piece. Listen before you write, and study the national taste; listen to their operas, and examine them. I know your wonderful powers of imitation. Do not write hurriedly--no sensible composer does that. Study the words beforehand with Baron von Grimm and Noverre; make sketches, and let them hear them. It is always done: Voltaire reads his poems to his friends, hears their judgments, and follows their suggestions. Your honour and profit depend upon it; and as soon as we have money we will go to Italy again. Wolfgang was aware of the difficulties which lay before him, especially with regard to the language and the vocalists, and expressed himself energetically on both points (July 9, 1778) If I do get as far as writing an opera, I shall have trouble enough over it; that I do not mind, for I am used to it, if only this cursed French {PROSPECTS OF AN OPERA, 1778.} (47) language were not so utterly opposed to music! It is truly miserable; German is divine in comparison. And then the vocalists, male and female! they have no right to the name, for they do not sing, but shriek and howl, and all from the nose and the throat. In spite of all this, he was eager to set to work (July 31, 1778):--