exaggerated with respect to the frequent alterations. Mozart's Thematic Catalogue contains three pieces for insertion written _before_ the first performance (April 24, 28, 30) and incorporated in the book of words.[36] Mdlle. Cavalieri, of whom it was said at the time[37] that, deserving to be placed in the first rank of Italian singers, and almost deified as she was in Italy, not a word in her praise was ever uttered in Vienna, insisted on having a grand scena in the part of Elvira, in order to maintain her reputation as a singer. This gave rise (April 30) to the magnificent air "Mi tradi quell' alma ingrata" (527, 25 K.).[38] Mozart could not indeed persuade himself to sacrifice so much to the "voluble organ of Mdlle. Cavalieri" as he had formerly done in the "Entführung" (Vol. II., p. 235), but even as it is, the dramatic interest has to yield to the vocal--the character of Elvira to the individuality of the singer. The tenor singer, Signor Francesco Morelia,[39] on the contrary, seems to have found Ottavio's grand air too much for him, and the air in G major "Della sua pace" (527, 27 K.), composed for him is more modest in every respect. A stronger effort after popularity was made by the duet between Zerlina and Leporello, "Per queste tue manine" (527, 28 K.). The situation is broadly comic, and has no proper connection with the plot; Leporello is roundly abused, and finally tied hand and foot by Zerlina. It was probably intended as a sacrifice to the taste of the audience, who expected an opera buffa to make them laugh heartily. We know that Benucci was an excellent comedian in every branch of his art, and this duet leads to the conclusion that Signora Mombelli's forte was buffa. Zerlina expresses her anger and revenge volubly enough, but her own special grace {CRITIQUES ON DON GIOVANNI.} (139) and roguery have quite deserted her here. In a true opera buffa the duet would have been quite in keeping; but it is out of place in "Don Giovanni," because it brings Leporello and Zerlina to the foreground in a degree which does not accord with the plot, and places them both in a harsh light, false to their character as elsewhere displayed. Mozart was right, then, in his opinion that additions and alterations were not the means to make his opera gain favour; it was altogether too unusual a phenomenon to take immediate effect upon a Viennese audience. We have already seen how Haydn was constrained to put to silence the adverse criticisms of musicians and connoisseurs assembled at Count Rosenberg's, by declaring his conviction that Mozart was the greatest composer in the world. "Don Giovanni" first made its way upon the stages of Germany in German adaptations. It was given at Mannheim with extraordinary success in October, 1789,[40] and Schroder produced it in Hamburg at about the same time; Schink, while severely criticising the libretto of the opera, expresses himself enthusiastically in praise of the music--