by Mozart, by special command of the Emperor. Mozart chose to have Beaumarchais' French comedy, "Le Mariage de Figaro," made into an Italian opera, which was done with great ability by Da Ponte. These three pieces were nearly ready for representation at the same time, and each composer claimed the right of producing his opera for the first. The contest raised much discord, and parties were formed. The characters of the three men were all very different. Mozart was as touchy as gunpowder, and swore that he would put the score of his opera into the fire if it was not produced first; his claim was backed by a strong party. Righini, on the contrary, was working like a mole in the dark to get precedence. The third candidate was Maestro di Capella to the court, a clever, shrewd man, possessed of what Bacon called "crooked wisdom"; and his claims were backed by three of the principal performers, who formed a cabal not easily put down. Every one of the opera company took part in the contest. I alone was a stickler for Mozart, and naturally enough, for he had a claim on my warmest wishes, from my adoration of his powerful genius and the debt of gratitude I owed him for many personal favours. The mighty contest was put an end to by his majesty issuing a mandate for Mozart's "Nozze di Figaro" to be instantly put into rehearsal. A slight error has crept in here, for Salieri's opera was given first on October 12, 1785; but this account confirms the fact of the Emperor's interference. Mozart's claims were supported by the distinguished company of amateurs who arranged a representation of "Idomeneo" at the Auersperg Theatre in March (Vol. II., p. 289). The fact that his friends Count Hatzfeld (Vol. II., p. 291) and Bridi (Vol. II., p. 359) took his part in the dispute shows that it was intended to put Mozart forward as a composer of Italian operas, and that powerful support was considered necessary for the purpose. His father had cause therefore to write to his daughter (April 18):-- On the 28th, "Le Nozze di Figaro" is to be put on the stage for the first time. It will mean much if it succeeds, for I know that there has been a surprisingly strong cabal against it. Salieri and all his adherents will move heaven and earth against it. Duschek told me lately[42] that my son met with such violent opposition because of his extraordinary talent and cleverness. {MOZART AS AN OPERA COMPOSER.} (70) Niemetschek (p. 37) goes so far as to assert that it was commonly reported that the Italian singers did all they could to ruin the opera on its first performance by intentional mistakes and carelessness, and that they had to be sternly reminded of their duty by the Emperor, to whom Mozart appealed in despair at the end of the first act. Kelly says nothing of this; he maintains, on the contrary, that never was opera so strongly cast, and that all the subsequent performances he had seen were no more to be compared to the original one than light is to darkness:[43]--