The Empress is said to have expressed herself very disdainfully concerning the "porcheria" of German music; and it is certain that the first performance of "Titus" was far from being a success.[39] Niemetschek is of opinion (p. 112) that the public were too excited by the gorgeous coronation festivities to be disposed to listen to the calmer beauties of Mozart's music. Mozart, accustomed to find consolation for so much slighting indifference in the enthusiastic applause of the Prague audiences, was thoroughly cast down by his failure; the more so as he was unwell when he arrived, and his indisposition had been increased by his extraordinary exertions. He was continually taking medicine and looked pale and depressed, although, as Niemetschek says, his gaiety shone forth bright as ever in the congenial society of his Prague friends; at his parting from the familiar circle he was so overcome as to shed tears.[40] {LABOUR AND POVERTY.} (290) If it be true that "Cosi fan Tutte" is in all essential points an opera buffa, it is no less certain that "Titus" may take its stand as a veritable opera seria. Metastasio wrote "La Clemenza di Tito" in 1734, and it was performed with Caldara's music on the name-day of Charles VI.; it was subsequently set to music by several distinguished composers.[41] It is true that the public taste had so far altered that it was scarcely feasible to present it in its original form; but the improvements in the libretto, made by Caterino Mazzola, the Saxon court poet,[42] did not affect the character of the opera in any important degree. The principal change was the compression of the original three acts into two, and the omission of a not very happy episode, in which Annius, by a change of mantle, is taken for the guilty person. The course of the plot is thereby simplified; but it would be impossible by means of alterations to endow it with any lively dramatic interest. Nor is it rich in good musical situations; of all the characters Vitellia is the only one who displays the least passion; and the excessive amount of virtue and generosity depicted affords no field either for musical or dramatic interest. Further condensations were made of the numerous and, for the most part, rhetorically sententious solo airs, and ensemble movements were introduced at suitable points. This was accomplished with all possible deference to the original design and to Metastasio's verses, so that the character and colouring proper to a court festival piece was well preserved.[43] The following is a brief abstract of the plot:--(23); the duets (1, 3, 7), terzets (10, 14,18), the quintet (12), sestet (26), and the chorus (15); they retain for the most part Metastasio's ideas, and often his verses and turns of expression. {PLOT OF "TITUS."} (291)