Let it be remembered, however, as a matter of fact, that when in 1813 Rossini produced _Tancredi_, which marks the commencement of the reforms introduced by him into serious opera, he had enjoyed no opportunity of seeing any of Mozart's works on the stage. Probably he had studied the music of Mozart, as we know him to have studied that of Haydn, in score; but it was not until 1814 that _Don Giovanni_, nor until 1815 that the _Marriage of Figaro_, was performed for the first time in Italy at the Scala theatre. Rossini's success, due above all to the fascinating character of his easily appreciable melodies, was instantaneous; and it spread like wild-fire from Italy all over Europe. More than a quarter of a century, however, passed before Mozart's great works made their way from Vienna to the chief cities of Italy, and to the capitals of France and England. This tardy recognition of Mozart's dramatic genius may be explained in part by the outbreak of the French revolution soon after their production, and by the wars which distracted Europe from the time of the French revolution until the pacification of 1815. CHAPTER IV. TANCREDI. _Tancredi_, composed a year after _La Pietra del Paragone_, was Rossini's first serious opera. It was also the first opera by which he became known throughout Europe. To amateurs of the present day its melodies appear of old-fashioned, or at least of antique cast. The recitatives seem long, and they are interminable compared with those by which Verdi connects his musical pieces. But when _Tancredi_ was first brought out _opera seria_ consisted almost entirely of recitative, relieved here and there and only at long intervals by solo airs. For much of this declamation Rossini substituted singing; for endless monologues and dialogues supported by a few chords, concerted pieces connected and supported by a brilliant orchestral accompaniment.