The third season began October 23, 1790, and closed on March 8, 1791. Between the opening and November 27, performances of the following musical-dramatic works are recorded: “König Theodor in Venedig” (_Il Re Teodoro_), Paisiello; “Die Wilden” (_Azemia_), Dalayrac; “Der Alchymist,” Schuster; “Kein Dienst bleibt unbelohnt,” (?); “Der Barbier von Sevilla,” Paisiello; “Die schöne Schusterin,” Umlauf; “Lilla,” Martini; “Die Geitzigen in der Falle,” Schuster; “Nina,” Dalayrac; “Dr. Murner,” Schuster. On March 8, the season closed with a ballet by Horschelt, “Pyramus und Thisbe.” The reporter in the “Theaterkalender” says: On Quinquagesima Sunday (March 6) the local nobility performed in the Ridotto Room a characteristic ballet in old German costume. The author, His Excellency Count Waldstein, to whom the composition and music do honor, had shown in it consideration for the chief proclivities of our ancestors for war, the chase, love and drinking. On March 8, all the nobility attended the theatre in their old German dress and the parade made a great, splendid and respectable picture. It was also noticeable that the ladies would lose none of their charms, were they to return to the costumes of antiquity. Before proceeding with this history a correction must be made in this report: the music to the “Ritterballet,” which was the characteristic ballet referred to, was not composed by Count Waldstein but by Ludwig van Beethoven. We shall recur to it presently. Owing to a long-continued absence of the Elector, the principal singers and the greater part of the orchestra, the fourth season did not begin till the 28th of December, 1791. Between that date and February 20, 1792, the following musical works were performed: “Doktor und Apotheker,” Dittersdorf; “Robert und Caliste,” Guglielmi; “Félix,” Monsigny; “Die Dorfdeputirten,” Schubauer; “Im Trüben ist gut Fischen” (_Fra due Litiganti, il Terzo gode_), Sarti; “Das rothe Käppchen,” Dittersdorf; “Lilla,” Martini; “Der Barbier von Sevilla,” Paisiello; “Ende gut, Alles gut,” music by the Electoral Captain d’Antoin; “Die Entführung aus dem Serail,” Mozart; “Die beiden Savoyarden” (_Les deux petits Savoyards_), Dalayrac. OPERAS AT BONN IN 1792 The fifth season began in October, 1792. Of the nine operas given before the departure of Maximilian and the company to Münster in December, “Die Müllerin” by De la Borde, “König Axur in Ormus” by Salieri, and “Hieronymus Knicker” by Dittersdorf, were the only ones new to Bonn; and in only the first two of these could Beethoven have taken part, unless at rehearsals; for at the beginning of November he left Bonn--and, as it proved, forever. Probably Salieri’s masterpiece was his last opera within the familiar walls of the Court Theatre of the Elector of Cologne.