manner as to be perfectly fit for representation. The Emperor gave way, summoned Mozart before him with the score, and after {ADAPTATION OF "FIGARO," 1785.} (67) hearing some portions of it, commanded that it should be performed and put into rehearsal at once. This caused much displeasure to Mozart's opponents, Casti and Count Rosenberg, "a sworn enemy of the Germans, who would listen to nothing that was not Italian,"[40] and who made as many difficulties as he could. Da Ponte relates one instance of the kind. The manager, Bussani (the singer who was cast for the part of Bartolo), told Count Rosenberg that in the third act of "Figaro," during the wedding festivities, while Susanna is conveying the letter to the Count, a ballet was to be introduced. Rosenberg sent for the poet, reminded him that the Emperor would not allow a ballet, and turning a deaf ear to his remonstrances, tore the scene out of the book. Mozart was furious; wanted to call the Count to answer, to horsewhip Bussani, to appeal to the Emperor, to take back the score--in short, he could with difficulty be pacified. At the full rehearsal the Emperor was present. In obedience to Rosenberg's order the ballet was omitted, and in dead silence Susanna and the Count made their now meaningless gestures. The Emperor, in amazement, asked what it all meant, and on Da Ponte's explanation of the affair, ordered a proper ballet to be at once arranged. This story, although Da Ponte may have exaggerated the importance of his own share in it, doubtless gives a fair idea on the whole of the circumstances under which Mozart's "Figaro" was produced. Kelly's assertion that Mozart was commissioned by the Emperor to write an opera, and selected "Figaro," accords very well with Da Ponte's account. Mozart began his work in the autumn of 1785, as we learn from a letter of his father's to Marianne (November 11, 1785):-- At last, after six weeks' silence, I have received a letter from your brother of November 2, containing quite twelve lines. His excuse for not writing is that he has been over head and ears at work on his opera, "Le Nozze di Figaro." He has put off all his pupils to the afternoon, so that he may have his mornings free. I have no fear as to the music; {MOZART AS AN OPERA COMPOSER.} (68) but there will no doubt be much discussion and annoyance before he can get the libretto arranged to his wish; and having procrastinated and let the time slip after his usual fashion, he is obliged now to set to work in earnest, because Count Rosenberg insists upon it.