No record has been found of the repertory of the Bonn theatre for the season 1779-1780, except that the opening piece on December 3, on the evening after the Elector’s return from Münster, was a prologue, “Wir haben Ihn wieder!” text by Baron vom Hagen, with airs, recitatives and choruses composed by Neefe; that the “Déserteur” was in the list, and finally Hiller’s “Jagd.” In June, 1781, the season being over, the company migrated to Pyrmont, from Pyrmont to Cassel, and thence, in October, back to Bonn. ANOTHER BUSY SEASON AT BONN The season of 1781-’82 was a busy one; of musical dramas alone 17 are reported as newly rehearsed from September, 1781, to the same time in 1782, viz: “Die Liebe unter den Handwerkern” (“L’Amore Artigiano”) Music by Gassmann “Robert und Calliste” „ „ Guglielmi “Der Alchymist” „ „ Schuster. “Das tartarische Gesetz” „ „ d’Antoine (of Bonn) “Der eifersüchtige Liebhaber” (“L’Amant jaloux”) „ „ Grétry “Der Hausfreund” (“L’Ami de la Maison”) „ „ Grétry “Die Freundschaft auf der Probe” (“L’Amitié à l’Épreuve”) „ „ Grétry “Heinrich und Lyda” „ „ Neefe “Die Apotheke” „ „ Neefe “Eigensinn und Launen der Liebe” „ „ Deler (Teller, Deller?) “Romeo und Julie” „ „ Benda “Sophonisba” (Deklamation mit Musik) „ „ Neefe “Lucille” „ „ Grétry “Milton und Elmire” „ „ Mihl (or Mühle) “Die Samnitische Vermählungsfeier” (“Le Marriage des Samnites”) „ „ Grétry “Ernst und Lucinde” „ „ Grétry “Günther von Schwarzburg” „ „ Holzbauer It does not follow, however, that all these operas, operettas and plays with music were produced during the season in Bonn. The company followed the Elector to Münster in June, 1782, and removed thence to Frankfort-on-the-Main for its regular series of performances at Michaelmas. It came back to Bonn in the Autumn. The season 1782-’83 was as active as the preceding. Some of the newly rehearsed spoken dramas were “Sir John Falstaff,” from the English, translations of Sheridan’s “School for Scandal,” Shakespeare’s “Lear,” and “Richard III,” Mrs. Cowley’s “Who’s the Dupe?” and, of original German plays, Schiller’s “Fiesco” and “Die Räuber,” Lessing’s “Miss Sara Sampson,” Schroeder’s “Testament,” etc., etc. The number of newly rehearsed musical dramas--in which class are included such ballad operas as General Burgoyne’s “Maid of the Oaks”--reached twenty, viz: