for the Carnival of 1781.  It was “Idomeneo, Konig von Greta.”  At the beginning of November he once more set off to Munich in order to “prepare an exact fit,” on the spot, of the different songs in the opera for the singers, and to rehearse and practise everything with them.  The Abbate Varesco in Salzburg was the author of the libretto, in which many an alteration had yet to be made, and these were all to be effected through the intervention of the father.

126.

Munich, Nov. 8, 1780.

Fortunate and pleasant was my arrival here,—­fortunate, because no mishap occurred during the journey; and pleasant, because we had scarcely patience to wait for the moment that was to end this short but disagreeable journey.  I do assure you it was impossible for us to sleep for a moment the whole night.  The carriage jolted our very souls out, and the seats were as hard as stone!  From Wasserburg I thought I never could arrive in Munich with whole bones, and during two stages I held on by the straps, suspended in the air and not venturing to sit down.  But no matter; it is past now, though it will serve me as a warning in future rather to go on foot than drive in a diligence.

Now as to Munich.  We arrived here at one o’clock in the forenoon, and the same evening I called on Count Seeau [the Theatre Intendant], but as he was not at home I left a note for him.  Next morning I went there with Becke.  Seeau has been moulded like wax by the Mannheim people.  I have a request to make of the Abbate [Gianbattista Varesco].  The aria of Ilia in the second act and second scene must be a little altered for what I require,—­“Se il padre perdei, in te lo ritrovo” This verse could not be better; but now comes what always appeared unnatural to me,—­N.B. in an aria,—­I mean, to speak aside.  In a dialogue these things are natural enough, for a few words can be hurriedly said aside, but in an aria, where the words must be repeated, it has a bad effect; and even were this not the case, I should prefer an uninterrupted aria.  The beginning may remain if he chooses, for it is charming and quite a natural flowing strain, where, not being fettered by the words, I can write on quite easily; for we agreed to bring in an aria andantino here in concert with four wind instruments, viz. flute, hautboy, horn, and bassoon; and I beg that you will let me have the air as soon as possible.

Now for a grievance.  I have not, indeed, the honor of being acquainted with the hero Del Prato [the musico who was to sing Idamante], but from description I should say that Cecarelli is rather the better of the two, for often in the middle of an air our musico’s breath entirely fails; nota bene, he never was on any stage, and Raaff is like a statue.  Now only for a moment imagine the scene in the first act!  But there is one good thing, which is, that Madame Dorothea Wendling is arci-contentissima with her scena, and insisted on hearing it played three times in succession.