[Footnote 33: B. A. Weber declared after the performance in Berlin (Mus. Monatsschr., 1792, p. 137): "After the 'Marriage of Figaro,' this opera is indisputably the finest. The concerted pieces more especially have a beauty and an expression which can be rather felt than described."] [Footnote 34: Journ. d. Mod., 1792, p. 504: "The opera in question is the most absurd stuff in the world, and only sought after on account of the excellence of the music."] [Footnote 35: In a Musikalischer Briefwechsel (Berlin Mus. Ztg., 1805, p. 293) the opera, both words and music, are severely criticised by "Arithmos," who is then in his turn ridiculed as a Philistine by "Phantasus," and the opera praised as a model of genuine irony. E. T. A. Hoffmann, too, who places the essence of comic opera in the fantastical, considers that the much-abused text of "Cosi fan Tutte' is genuinely operatic (Serapionsbrüder, I., 2, 1, Ges. Schr., I., p. 120).] [Footnote 36: Cf. A. von Wolzogen, Deutsche Mus. Ztg., 1861, p. 137.] [Footnote 37: In this form the opera was performed in Berlin, and again in 1822 at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).] [Footnote 38: Morgenblatt, 1856, No. 4, p. 75.] [Footnote 39: This has occasioned the displacement of some of the songs, not always to their disadvantage. This version is not only far superior to all that preceded it, but is excellent in itself by reason of its taste and cleverness and careful regard for musical requirements.] [Footnote 40: A Danish translation by Oehlenschläger, with which I am not acquainted, appears to have altogether transformed the plot (Oehlenschläger, Lebenserin-nerungen, I., p. 121; IV., p. 43).] [Footnote 41: Hogarth, Mem. of the Opera, II., p. 188.] [Footnote 42: These pseudo improvements have been adopted at the more recent performances of the opera at Leipzig, Dresden, Munich, Vienna, and even at Karlsruhe,by Ed. Devrient (1860).] [Footnote 43: In the second act there are six airs, four duets, the so-called quartet and Alfonso's short scena; in the first there are six airs, two duets, five terzets, and one quintet, besides a sestet and the great scena with the chorus.]