I called on him one evening ; he said to me, " I have just finished a little duet for my opera, you shall hear it." He sat down to the piano, and we sang it. I was delighted with it, and the musical world will give me credit for being so, when I mention the duet, sung by Count Almaviva and Susan, " Crudel perche finora farmi languire cosi." A more delicious morceau never was penned by man ; and it has often been a source of pleasure to me, to have been the first who heard it, and to have sung it with its greatly-gifted composer. I remember at the first rehearsal of the full band, Mozart was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra. Figaro's song, " Non piu andrai, farfallone amoroso," Bennuci gave, with the greatest animation and power of voice. I was standing close to Mozart, who, sotto voce, was repeating, Bravo ! Bravo ! Bennuci ; and when Bennuci came to the fine passage, " Cherubino, alia vittoria, alia gloria militar," which he gave out with Stentorian lungs, the effect was electricity itself, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated Bravo ! Bravo ! Maestro- Viva, viva, grande Mozart. Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against the music desks. The little man acknowledged, by repeated obeisances, his thanks for the distinguished mark of enthusiastic applause bestowed upon him. The same meed of approbation was given to the finale at the end of the first act; that piece of music alone, in my humble opinion, if he had never composed any thing else good, would have stamped him as the greatest master of his art. In the tetto, in the second act, (which was Mozart's favourite piece of the whole opera,) I had a very conspicuous part, as the Stuttering Judge. All through the piece I was to stutter; but in the sestetto, Mozart requested I would not, for if I did, I should spoil his music. I told him, that although it might appear very presumptuous in a lad like me to differ with him on this point, I did ; and was sure, the way in which I intended to introduce the stuttering, would not interfere with the other parts, but produce an effect ; besides, it certainly was not in nature, that I should stutter all through the part, and when I came to the sestetto, speak plain and after that piece of music was over, return to stuttering ; and, I added, (apologising at the same time, for my apparent want of deference and respect in placing my opinion in opposition to that of the great Mozart,) that unless I was allowed to perform the part as I wished, I would not perform it at all. Mozart at last consented that I should have my own way, but doubted the success of the experiment. Crowded houses proved that nothing ever on the stage produced a more powerful effect ; the audience were convulsed with laughter, in which Mozart himself joined. The Emperor repeatedly cried out Bravo ! and the piece was loudly applauded and encored. When the opera was over, Mozart came on the stage to me, and shaking me by both hands, said, "Bravo! young man, I feel obliged to you ; and acknowledge you to have been in the right, and myself in the wrong." There was certainly a risk run, but I felt within myself I could give the effect I wished, and the event proved that I was not mistaken. I have seen the opera in London, and elsewhere, and never saw the Judge pourtrayed as a stutterer, and the scene was often totally omitted. I played it as a stupid old man, though at the time I was a beardless stripling. At the end of the opera, I thought the audience would never have done applauding and calling for Mozart ; almost every piece was encored, which prolonged it nearly to the length of two operas, and induced the Emperor to issue an order, on the second representation, that no piece of music should be encored. Never was any thing more complete than the triumph of Mozart, and his " Nozze di Figaro," to which numerous overflowing audiences bore witness. << less