In the postcript he again begs his father to consult Varesco, and hurry him on. On further consideration, however, he thought he had still conceded too much, and a few days afterwards he wrote (December 10, 1783):--
Do all you can to make my book a success. I should like to bring the ladies down from the ramparts in the first act, when they sing their airs, and I would willingly allow them to sing the whole finale upstairs.
Varesco was quite willing to make the alteration, which was easily to be effected by a change of scene. The altered version exists, together with the original text; but we know nothing further on the subject. Mozart seems to have made more extensive demands. He wrote to his father (December 24, 1783):--
Now, for what is most necessary with regard to the opera. The Abbate Varesco has written after Lavina's cavatina: "A cui serverà la musica della cavatina antecedente"--that is of Celidora's cavatina--but this will not do. The words of Celidora's cavatina are hopeless and inconsolable, while those of Lavina's are full of hope and consolation. Besides, making one character pipe a song after another is quite an exploded fashion, and never was a popular one. At the best it is only fitted for a soubrette and her lover in the _ultime parti._ My idea would be to begin the scene with a good duet, for which the same words, with a short appendix for the coda, would answer very well. After the duet, the conversation could proceed as before: "E quando s' ode il cam-panello della custode." Mademoiselle Lavina will have the goodness to take her departure instead of Celidora, so that the latter, as prima donna, may have an opportunity of singing a grand bravura air. This would, I think, be an improvement for the composer, the singers, and the audience, and the whole scene would gain in interest. Besides, it is scarcely likely that the same song would be tolerated from the second singer after being sung by the first. I do not know what you both mean by the following direction: At the end of the interpolated scene for the two women in the first act, the Abbate has written: "Siegue la scena VIII che prima era la VII e cosi cangiansi di mano in mano i numeri." This leads me to suppose that he intends the scene after the quartet, where the two ladies, one after the other, sing their little songs from the window, to remain. But that is impossible. The act would be lengthened out of all proportion, and quite spoiled. I always thought it ludicrous to read: _Celidora_. "Tu qui m' attendi, arnica. Alla custode farmi veder vogl' io; ci andrai tu puoi." Lavina: "Si dolce arnica, addio." (Celidora parte.) Lavina sings her song. Celidora comes back and says: "Eccomi, or vanne," &c.; and then out goes Lavina, and Celidora sings her air; they relieve one another, like soldiers on guard. It is much more natural