In Vienna, after the operetta had again been thrice performed in 1797, an experiment was made in 1814 with an increased adaptation by Stegmeyer, but without lasting success.[19] Within the last few years L. Schneider has made a false step in the publication of the "Schauspieldirector, or Mozart und Schikaneder."[20] Wishing to preserve Mozart's music free from foreign contact, he chose out some songs, which were suitably instrumentalised by Taubert, and fitted fairly well into the new piece.[21] But in order to give the plot more interest he fell into the unpardonable error of making Mozart himself the hero of the opera, composing the "Zauberflöte" under Schikaneder's direction. It is incredible that any one should have been capable of thus misrepresenting the master whom the resuscitation of his music was intended to honour, as a senseless, infatuated coxcomb, contemptible both in his obsequious submission to Schikaneder and his immoral relations with his sister-in-law, Aloysia Lange. In 1856 Mozart's operetta was given in Paris at the Bouffes Parisiens with great success; but with what adaptations I am not aware. Mozart was altogether deceived in his expectation that the Italian opera would not find favour with the public. Joseph made himself acquainted through Salieri with all the most distinguished artists whom the latter had heard in Italy (Mosel, Salieri, p. 75), and gave him full power to engage those he thought fit; he even made this a special object of his own journey through Italy. He thus succeeded in bringing together a _personnel_ for opera buffa, which through a long series of years, with various changes, was unsurpassed in the {REVIVAL OF ITALIAN OPERA, 1783.} (51)