Worth noting that Mozart-contemporary Martin Y Soler excelled at writing ensembles, and his opera UNA COSA RARA is stacked with them... the Sestette (three pairs of would-be lovers all lost in the woods) is particularly attractive, and the Act One Trio (in three sections, Allegro-Andante-Allegro) is not only pretty, but drives the action forwards too (rather than just being a contemplatory commentary on the plot so far).   Mozart quoted UNA COSA RARA as one of the pieces played by the Wind Band at Don Giovanni's revels.  Soler somehow "acquired" the surname "Martini" ("Martin-Y") and his works were published in Vienna and London under that name, so it's often not obvious that his hand is in there as the composer.

I saw it at Covent Garden in 2002: on the evidence of that production, it must be one of the dullest works of musical theatre ever composed.

So why was I there?  Simple: to drool over Barbara Frittoli.

We know that Wagner had some strong opinions but I'm interested to know what his views were on translating his operas into other languages, especially Meistersinger which is probably the most German of the lot. When were the Italian versions made - while the works were still under copyright? Was it with W's blessing?