However, even with Mozart and Salieri's rivalry for certain jobs, there is virtually no evidence that the relationship between the two composers was at all acrimonious beyond this, especially after around 1785, when Mozart had become established in Vienna. Rather, they appeared to usually see each other as friends and colleagues, and supported each other's work. For example, when Salieri was appointed Kapellmeister in 1788, he chose to revive "Figaro" instead of introducing a new opera of his own, and when he attended the coronation festivities for Leopold II in 1790, Salieri had no fewer than three Mozart masses in his luggage. Salieri and Mozart even jointly composed a cantata for voice and piano, "Per la ricuperata salute di Ofelia", which celebrated the return to the stage of the singer Nancy Storace. This work, although it had been printed by Artaria in 1785, was considered lost until 10 January 2016, when the "Schwäbische Zeitung" reported on the discovery by musicologist and composer Timo Jouko Herrmann of a copy of its text and music while doing research on Antonio Salieri in the collections of the Czech Museum of Music. Mozart's "Davide penitente" (1785), his Piano Concerto KV 482 (1785), the Clarinet Quintet (1789) and the 40th Symphony (1788) had been premiered on the suggestion of Salieri, who supposedly conducted a performance of it in 1791. In his last surviving letter from 14 October 1791, Mozart told his wife that he had picked up Salieri and Caterina Cavalieri in his carriage and driven them both to the opera; about Salieri's attendance at his opera "The Magic Flute", speaking enthusiastically: "He heard and saw with all his attention, and from the overture to the last choir there was not a piece that didn't elicit a 'Bravo!' or 'Bello!' out of him [...]."