A huge step in the world of opera on 7 May 1783. It was on this date which Mozart wrote a letter to his father with the intentions of his next composition. In the coming years this spectacle would become Mozart 18th Operatic Work and 1 lath in Italian, El Nozzle did Figaro. Already having 10 Italian Operas accredited to his name El Nozzle did Figaro seemed to be Mozart greatest operatic challenge to date. The Burgomaster in Vienna was currently home to an Italian Company whom Mozart thought would not last long – however, now was doing excellent business.
There were many members of the Opera Company who could not wait to get involved in the project Mozart had in mind. Particularly the buffo bass, Benefice who was described by Mozart as “Particularly Despite having much interest by members of the company to aid his intentions, finding a libretto which appealed to Mozart seemed impossible. Hundreds of librettos were looked through, examined, acted out however, none seemed to be the perfect fit, Eventually Mozart second hand man at the time, the buffo bass, Benefice came across Pierre-Augustan Corona De Benchmarks outrageously cheeky play La folly journey, o El marriage De Figaro. 2] Just as Mozart Figaro Benchmarks’ play was not well accepted in the beginning. Yet the way to acceptance was paved by the Viennese success of the first Figaro play by Benchmarks, El barrier De Seville.  Now having found a libretto to work with Mozart felt so many changes would have to be made. Writing a new text seemed easier to Mozart then having to work through and omitting parts of DOLS-lintiest – possibilities which he had little time for. A new text Mozart felt would be better anyways. Mozart goes on in his letter saying ” Our poet here is now a certain Abate dad Pone.
He has a huge amount to do, revising pieces for the theatre, and he has to write per oblige an entirely new libretto for Saltier, which will take him two months. He has promised after that to write a new on for me. But who knows whether he will be able to keep his word – or whether he will want to. As you are aware, these Italian gentlemen are very charming to your face… Enough, we know them! If he Is In league with Saltier I shall never get anything out of him. But I should dearly like to show what I can do in an Italian opera. [41 Supported by the letter to Mozart father – challenges were imminent from the start. One of the biggest was that of Dad Pone being available and willing to make changes to Benchmarks existing work. Clearly unable at first being employed by Saltier Mozart had to ponder with the idea that his composition would not get started for at least two months, If at all. Mozart was worried about Dad Pone teaming up with Saltier, fearing he would then get nothing out of him. All Mozart wanted to do was show what he could do with Italian Opera.
After a exchequer career as priest, preceptor, radical thinker and frequenter of married women, Dad Pone had recently settled in Vienna in the winter of 1780-81. He is described as having immense talent and passion for poetry and the theatre which were all genuine. Aside from his Incredible talents Dad Pone’s charm and good him a Job working for Catering Amazons, poet to the Italian opera at the Saxon court in Dressed. This eventually lead to the relationship which Dad Pone and Saltier endured s a letter of recommendation came in high regard from Maestro Amazons.
Upon arriving in Vienna he quickly put his charm and masterful intelligence to work by courting the aged Metastasis, renewed acquaintance with Mozart admirer and patron Count Cowbell and endeared himself to Count Rosenberg. Once the Italian company was set-up in Vienna at the Burgomaster he was immediately appointed resident librettist. Mozart rarely mentions Dad Pone’s name in any correspondence he had with people like his father and Count Amazons. Reasoning could be thought of in one way – rosily and most obvious is the fact they lived only a few doors down from one another n Vienna so the need of corresponding through letters was not.
For what some record as one of the most influential, dynamic and destined partnerships known in the musical world there is little known about the on-goings between Mozart and Dad Pone. In the months while Figaro was taking shape and being composed Mozart resided in Grosser Sculptresses (the modern Dominates), a short walk to Dad Pone’s office at the Breather.  Their partnership is easily explained through this quote Inhere no source comes attached “a composer who understands the theatre and a true poet, that phoenix, working together. Despite all these reasoning’s as to why Mozart and Dad Pone were such a dynamic, intelligent, forceful duo – one question Inch lingers in one’s mind might be “why did their collaboration not happen sooner? ” Apteral, Dad Pone had been in Vienna 4 years prior to them beginning their collaboration. Several different reasons exist. The first – standing between Dad Pone and Mozart was Mozart meticulousness and his increasingly acute dramatic sense. Mozart was not going to settle for less than first rate, or at any rate with the mediocre.
Another reason was concern of his reputation and identity. Thirdly, was the readiness and availability of Dad Pone. Upon meeting with Dad Pone, Mozart learned that his soon to be partner was currently engaged by Saltier for another two months. Not knowing when or if Dad Pone would be ready to go by then did not cause Mozart to wait around – fully willing and prepared he kept moving forward. Lastly, the presence and consistent seeking of Mozart father for approval with everything he did. Being so brilliant minded one does not think on the same levels as that of regular society.
Thoughts, processes, formulas, details are manufactured at a different level then the rest. Mozart was definitely in this category of people. The gifted category if [o will. One walks a fine line with this comparison however, the way Mozart took on projects and ways of capturing musical results could not be far off from the thought process of an engineer getting to the end result of a project drawing or building structure. Both professions – meticulous in preparation, meticulous during instruction and both having such an acute focus on what the finished product must be.