dare say you are all pleased that I put a stop to encores; it must be fatiguing and distressing to you to repeat so many songs." Storace replied: "It is indeed, sire, very distressing." The other two bowed, as if in assent; but Kelly, who was standing by, said boldly to the Emperor: "Do not believe them, sire, they all like to be encored; at least I am sure I always do"; whereupon the Emperor laughed. Mozart's enemies found it impossible to drive the opera completely from the stage, but they took care that it should not be given often enough to take firm hold of the public favour. Nevertheless, it reached nine performances within the year, though with long intervals between them (May 1, 3, 8, 24, July 4, August 28, September 22, November 15, December 18). On November 17 Martin's "Cosa Rara" (after so strong an opposition on the part of the singers, that the Emperor was obliged to compel them to sing)[48] achieved an unprecedented success. This threw "Figaro" somewhat into the shade, both in the public estimation and in the Emperor's opinion; the latter told Dittersdorf that Mozart overweighted the singers with his full accompaniments;[49] Martin's easy and taking melodies were far more to the royal taste. During 1787 and 1788 "Figaro" was not given at all in Vienna,[50] and was not reproduced until August 29, 1789. FOOTNOTES OF CHAPTER XXXV. [Footnote 1: For the history of opera in Vienna I am much indebted to an article written with full knowledge of the subject (A. M. Z., XXIV., p. 2651) and still more so to the careful and accurate communications which I owe to the courtesy of my friend Dr. Leop. von Sonnleithner; these two accounts form the groundwork of the present chapter, even where I have not expressly referred to them.] [Footnote 2: Müller (Abschied, p. 263) does not indeed mention the younger Stephanie by name, but other accounts explain his allusions. Schroder wrote to Dalberg (January 19, 1782): "I'm insisting upon the removal of young Stephanie from all concern in the affair, but there is no one bold enough to propose to the Emperor to dismiss a man whom he has appointed, and who will certainly be the ruin of the theatre."] [Footnote 3: Meyer, L. Schroder, I., p. 358. A. M. Z., XXIV., p. 265. Nicolai heard a performance of Gluck's "Orpheus" there in 1781 (Reise, IV., p. 537).] [Footnote 4: Kelly, Reminisc., I., p. 194.] [Footnote 5: A. M. Z., XXIV., p. 269. Schroder wrote to Dalberg (October 21, 1782): "German opera is abolished here, and comedy has been strengthened by Reineke and Opiz."] [Footnote 6: The new operas were: January 10--Gassmann, "Die Unruhige Nacht" (La Notte Critica), performed three times; February 9--Gallus, "Rose," or "Pflicht und Liebe im Streit," performed twice; February 23--J. Weigl, "Die betrogne Arglist," performed three times.]