[Footnote 47: The Wiener Zeitung (1786, No. 35) contained only the following brief notice: On Monday, May 1, was performed lor the first time in the National Theatre a new Italian opera in four acts, entitled 'Le Nozze di Figaro,' adapted from the French comedy of Mons. de Beaumarchais by Herr Abb. da Ponte, theatrical poet; the music is by Herr Kapellmeister Mozart. La Sign. Laschi, who has lately returned here, and La Sign. Bussani, a new vocalist, made their first appearance as the Countess and the page."] [Footnote 48: Da Ponte, Mem., I., 2, p. 90.] [Footnote 49: Dittersdorf, Selbstbiogr., p. 237.] [Footnote 50: In, June, 1787, Balzer announced (Wien. Ztg., 1787, No. 46, Anh.) that the unanimous approbation with which Mozart's masterpiece, "Die Hochzeit des Figaro," had been received in Prague, had induced him to publish a pianoforte arrangement by Kucharz; he also advertised arrangements for wind instruments, and a version of the work as a quintet by Abbé Vogler(I).] === MOZART 36 BY DAVID WIDGER CHAPTER XXXVI. "LE NOZZE DI FIGARO." THE choice of Beaumarchais' comedy "Le Mariage de Figaro, ou La Folle Journée," as a subject for operatic treatment, was deliberately made by Mozart himself.[1] The {LE MARIAGE DE FIGARO.} (73) play had excited unusual interest, both on account of the name and political position of the author and of the curious circumstances under which it had been produced in Paris. Beaumarchais had offered his comedy, towards the end of 1781, to the Théätre-Français, where it was readily accepted. But rumours prejudicial to the piece led Louis XVI. to have it read aloud in his presence; he was horrified at its freedom of tone, and declared that he would never consent to its performance. This only served to stimulate curiosity, and people thronged to hear the reading of the manuscript; a strong court party interested themselves for its production, the actors pressed for it, the public insisted upon it. Beaumarchais knew well how to turn all these circumstances to account; in June, 1783, his comedy was on the point of performance at the court theatre; the audience was actually assembled, when, just as the curtain was about to rise, a fresh prohibition arrived, from the King. Complaints of tyranny and oppression now became audible, and the affair assumed a political aspect. At length the King was prevailed upon to countenance a private representation at a festival given by M. de Vaudreuil to the Comte d'Artois in September, 1783. Beaumarchais contrived that this should lead to a public performance, which took place in April, 1784.[2] The unheard-of success of the play caused its reputation to spread rapidly, and Mozart's attention could not fail to be attracted to it, the more so as Paesiello's "Barbiere di Seviglia," founded on Beaumarchais' earlier comedy, had been well received in Vienna. Mozart's search for a suitable libretto among the Italian ones