The plot consists in the difficulties of Frank, the manager, in engaging a company for a theatre he has received permission to open in Salzburg. Many actors and actresses offer their services, and perform favourite scenes by way of testing their ability, the piece concluding with a similar trial of operatic music. The piece was loosely put together, and its main interest consisted in allusions to the passing events in the theatrical world; these are sometimes too palpable and rather coarse. Casti's little Italian opera, written for the same occasion, "Prima la Musica e poi le Parole" is, on the contrary, really witty and amusing, and allows the composer scope for a genuine musical work. Salieri, whose music, according to Mozart, was tolerable, but nothing more,[12] thus gained a great advantage over Mozart, to whom was entrusted the musical portion of the German piece. There could here, of course, be no question of dramatic interest and individual characterisation. The two singers bring their airs with them as prepared trials of skill. The object was to mark the contrast between them. The two songs are alike in design, with one slow and one agitated movement, and they further resemble each other in their mixture of sentimentality and gaiety, and in the number of bravura passages, {MOZART AS AN OPERA COMPOSER.} (48) which sometimes go to a considerable height. It is in the details that everything is different, even to the instrumentation, and that the sharpest possible contrast is maintained both in the parts and style of delivery. There is no great liveliness of movement until--the manager being perplexed to make his choice between the two--they fall to quarrelling, each of them reiterating with increasing warmth: "Ich bin die beste Sangerin." Thereupon the tenor comes to the rescue, and seeks to allay the irritation of the enraged ladies, giving occasion for a comic terzet full of life and humour. This was composed by Mozart, probably because it amused him, on January 18, 1786, although the play was not finished until February 3. Although the situation in itself cannot be said to possess much interest, there is a certain charm in the piece, and the forms which are usually only of artistic significance have here a substantial basis. The imitations with which the singers follow on each other's heels, the passages in which they run up to a fabulous height, the alternation of rapid _parlando_ with affected delivery and extraordinary passages--all these not only take effect as means of dramatic characterisation, but give the hearers the pleasure of deciding for themselves which of the two aspirants really is the best singer. The peacemaking tenor attaches., himself now to one, now to the other singer, and then again opposes them both, giving a certain amount of dignity to the dispute by means of musical and dramatic contrasts. Indeed the whole scene is so lively, so gay, so free from caricature,