 Even after the five months absence was over, Storace's voice was apparently far from fully recovered.Goldovsky recounts the subterfuges that both Salieri and Mozart engaged in to make it possible for the recovering soprano to take major roles in their operas; Mozart in particular rewrote passages of "The Marriage of Figaro" at lower pitch to help Storace get through her performances.Modern performances use the pitch values assigned by Mozart to later sopranos in the Prague and Vienna revival performances.