[Footnote 23: Berl. Litt.-u. Theat.-Ztg., 1784,1., p. 14. Opera seria was only given as an exception. When the celebrated male soprano Luigi Marchesi (Cramer, Magaz. f. Mus., I., p. 559) passed through Vienna on his journey from St. Petersburg, in August, 1785, the Emperor directed him to appear in Sarti's "Giulio Sabino," which was played six times to overflowing houses (Muller, Abschied, p. 7).] [Footnote 24: Berl. Litt.--u. Theat.-Ztg., I., pp. 14,19.] [Footnote 25: Berl. Litt.--u. Theat-Ztg., I., p. 313.] [Footnote 26: Cramer, Magaz. f. Mus., II., p. 185.] [Footnote 27: Meyer, L. Schröder, I., p. 345.] [Footnote 28: This was the opera "Il Ricco d'un Giomo," which was produced with little success on December 6, 1784 (Mosel, Salieri, p. 86).] [Footnote 29: Mus. Real-Ztg., 1789, p. 85.] [Footnote 30: Kelly, Reminisc., I., p. 231. Pohl, Mozart u. Haydn in London, p. 169.] [Footnote 31: Cramer, Magaz. f. Mus., II., p. 556.] [Footnote 32: Mosel, Salieri, p. 74.] [Footnote 33: Mosel, Salieri, p. 79. Da Ponte, Mem., I., 2, p. 50.] [Footnote 34: L. Da Ponte's "Memorie" appeared in New York, 1823 (2nd edition, 1829-30), and a translation at Stuttgart, 1847. Cf. A. M. Z., X., p. 679; XLI., p. 788; XLIV., p. 769.] [Footnote 35: Schink, Dramaturg. Monate, II., p. 539.] [Footnote 36: Kelly, Reminisc., I., p. 235.] [Footnote 37: Kelly, Reminisc., I., p. 189.] [Footnote 38: Da Ponte, Mem., I., 2, p. 68.] [Footnote 39: Kelly (Reminisc., I., p. 257) gives some interesting notices on the history of "Figaro."] [Footnote 40: Berl. Mus.-Ztg., 1793, p. 141.] [Footnote 41: An account of the fate of the autograph score, which came into the possession of N. Simrock, of Bonn, in 1864, is given in the N. Ztschr. fur Mus., XXXVI., p. 261. Cf. XXXV., pp. 65, 77.] [Footnote 42: Duschek and his wife had arrived at Salzburg from Prague at the beginning of April, after a short stay in Vienna.] [Footnote 43: Ulibicheff's opinion that, fortunately for the music, Mozart had to do with mediocre singers (II., p. 40), is unfounded. Cf. A. M. Z., XXIV., p. 270.] [Footnote 44: It is remarkable that none of the German vocalists, neither Madame Lange nor Cavalieri nor Teyber, on whom Mozart had himself reckoned for his "Sposo Deluso" (Vol. III., p. 60), were employed; a result, no doubt, of operatic factions. We know from Da Ponte (Mem., I., 2, pp. 109, no, 135) that Cavalieri was highly favoured by Salieri (Mosel, Salieri, p. 184), whose pupil she was.] [Footnote 45: So Mozart writes the name. Kelly was, as he says himself (Reminisc., I. p. 139), called Okelly in Italy.] [Footnote 46: She afterwards saog Pamina in the "Zauberflote."]