of the composer's skill and sense of symmetry in the
composition of "Faust" is shown in the fact that each part is so nearly
necessary to the work, that but few "cuts" can be made in presentation
without essentially marring the beauty of the work; and it is therefore
given with close faithfulness to the author's score.

After the immense success of "Faust," the doors of the Academy were
opened wide to Gounod. On February 28, 1862, the "Reine de Saba" was
produced, but was only a _succes d'estime_, the libretto by Gerard de
Nerval not being fitted for a lyric tragedy.*

* It has been a matter of frequent comment by the ablest
musical critics that many noble operas, now never heard,
would have retained their place in the repertoires of modern
dramatic music, had it not been for the utter rubbish to
which the music has been set.

Many numbers of this fine work, however, are still favorites on concert
programmes, and it has been given in English under the name of "Irene."
Gounod's love of romantic themes, and the interest in France which
Lamartine's glowing eulogies had excited about "Mireio," the beautiful
national poem of the Provencal, M. Frederic Mistral, led the former to
compose an opera on a libretto from this work, which was given at the
Theatre Lyrique, March 19, 1864, under the name of "Mireille." The
music, however, was rather descriptive and lyric than dramatic, as
befitted this lovely ideal of early French provincial life; and in spite
of its containing some of the most captivating airs ever written,
and the fine interpretation of the heroine by Miolan-Carvalho, it was
accepted with reservations. It has since become more popular in
its three-act form to which it was abridged. It is a tribute to the
essential beauty of Gounod's music that, however unsuccessful as operas
certain of his works have been, they have all contributed charming
_morceaux_ for the enjoyment of concert audiences. Not only did the airs
of "Mireille" become public favorites, but its overture is frequently
given as a distinct orchestral work.

The opera of "La Colombe," known in English as "The Pet Dove," followed
in 1866; and the next year was produced the five-act opera of "Romeo
et Juliette," of which the principal part was again taken by Madame
Miolan-Carvalho. The favorite pieces in this work, which is a highly
poetic rendering of Shakespeare's romantic tragedy, are the song of
_Queen Mab_, the garden duet, a