[Footnote 37: In this form the opera was performed in Berlin, and again in 1822 at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).]
[Footnote 38: Morgenblatt, 1856, No. 4, p. 75.]
[Footnote 39: This has occasioned the displacement of some of the songs, not always to their disadvantage. This version is not only far superior to all that preceded it, but is excellent in itself by reason of its taste and cleverness and careful regard for musical requirements.]
[Footnote 40: A Danish translation by Oehlenschläger, with which I am not acquainted, appears to have altogether transformed the plot (Oehlenschläger, Lebenserin-nerungen, I., p. 121; IV., p. 43).]
[Footnote 41: Hogarth, Mem. of the Opera, II., p. 188.]
[Footnote 42: These pseudo improvements have been adopted at the more recent performances of the opera at Leipzig, Dresden, Munich, Vienna, and even at Karlsruhe,by Ed. Devrient (1860).]
[Footnote 43: In the second act there are six airs, four duets, the so-called quartet and Alfonso's short scena; in the first there are six airs, two duets, five terzets, and one quintet, besides a sestet and the great scena with the chorus.]
[Footnote 44: "Oh, how inexpressibly I prize and honour Mozart," says Richard Wagner (Oper u. Drama, I., p. 54), "in that he found it impossible to write the same kind of music for 'Titus' as for 'Don Juan,' for 'Cosi fan Tutte' as for 'Figaro' I How music would have been debased thereby! A sprightly, frivolous poet handed him his airs, duets, and ensembles to compose, and according to the warmth with which they inspired him, he set them to the music which would endow them with the fullest amount of expression that they were capable of." Hotho (Vorstudien f. Leben und Kunst, p. 76) is of opinion that in "Cosi fan Tutte" the female parts are thrown into the shade by the male, while the contrary is the case in "Figaro" and "Don Giovanni," and accounts for this fact by saying that Mozart was always attracted by that side of his subject which was mostly suggestive of melody.]
[Footnote 45: It is advertised in the Wien. Ztg., 1790, No. 16, Anh., as the most beautiful duet of the new opera.]