little shyly and in a quiet way, here in the south of
France--have still an alluring power over those of us who, being at odds
with existing dispensations, are open to their genial influences. But
without discussing this side issue, it is enough to say that
Michel--lightly taking up what proved to be the resolute work of half a
lifetime--then and there vowed himself to the task of restoring and
reanimating that ruined and long-silent stage.

For more than twenty years he laboured without arriving at any tangible
result; and the third decade of his propaganda almost was ended when at
last, in August, 1869, his dream was made a reality and the spell of
silence was broken by the presentation of Mehul's "Joseph" at Orange.
And the crowning of his happiness came when, the opera ended, his own
ode composed for the occasion, "Les Triomphateurs"--set to music by
Imbert--echoed in the ancient theatre, and the audience of more than
seven thousand burst into enthusiastic cheering over the victory that
he had won. Truly, to be the hero of such a triumph was worth the work
of nine-and-twenty years.

Even through the dismal time of the German war no time was lost. M.
Michel and his enthusiastic colabourers--prominent among them being
"Antony Real, _fils_," upon whom has descended worthily his father's
mantle--cared for the material preservation of the building; and
succeeded so well in keeping alive a popular interest in their work that
they were able to arrange for yet another dramatic festival at Orange in
August, 1874. Both grand and light opera were given. On the first
evening "Norma" was sung; on the second, "Le Chalet" and "Galatee." To
the presentation of these widely differing works attached a curious
importance, in that they brought into strong relief an interesting phase
of the theatre's psychology: its absolute intolerance of small things.
"Norma" was received with a genuine furore; the two pretty little operas
practically were failures. The audience, profoundly stirred by the
graver work, seemed to understand instinctively that so majestic a
setting was suited only to dramas inspired by the noblest passions and
dealing with the noblest themes.

During the ensuing twelve years there was no dramatic performance in the
theatre; but in this interval there was a performance of another sort
(in April, 1877) which in its way was very beautiful. M. Michel's
thrilling "Salute to Provence" was sung by a great chorus with
orchest