=French Schools of Opéra=.—As already explained, French opera is divided into two styles, known as Opéra Comique and Grand Opéra, according to the use of dialogue or recitative. Not that this is the only difference. The Grand Opéra is naturally adapted to subjects of a large or heroic scope; the Opéra Comique, like the _Spieloper_ in Germany, to lighter episodes of a romantic or humorous nature. As will be seen, however, it not infrequently happens that the latter form is adopted for serious subjects, owing to the fact that it is generally easier for a composer to find acceptance at the Opéra Comique than at the Grand Opéra. The youthful composer or the one who has not yet acquired a name for himself is expected to win his spurs in the former before attempting to enter the latter. Hence, even if his work is somber or tragic in character he often finds it advisable to cast it into the lighter form for the sake of having it produced. =The Opéra Comique=.—The Opéra Comique had its origin in the introduction of the Opéra Buffa in Paris by an Italian company about the middle of the 18th century, which led to the Gluck-Piccini controversy. Pergolesi’s _La Serva Padrona_ in particular awakened great admiration and brought about the creation of a similar type of French opera. It was at first hardly more than an elaboration of the already existing vaudeville, or play with songs. =François Philidor= (1726-1795) and =Andre Grétry= (1741-1813) were its founders. Grace and simplicity, scrupulous adaptation of the music to the clearness of diction always demanded by French taste were its distinguishing characteristics. =Its Development=.—=Étienne Méhul= (1763-1817), a pupil of Gluck, gave it a larger musical development and a greater depth of dramatic feeling. His _Joseph_ (1807), founded on Biblical history, is a classic of this school. Its dignity, its severe and noble style won less cordial recognition in France than in Germany; a generation later it was to exercise a decisive influence on the future creator of the music drama. It was through a performance of _Joseph_ that Richard Wagner, then director of the opera in Riga, first felt inspired to battle against the empty conventionalities of the operatic stage. Méhul’s enlargement of the Opéra Comique was carried on by Cherubini, who through the ill-will of Napoleon found the doors of the Académie de Musique, the technical title of the Grand Opéra, closed against him. Even his greatest tragic opera, _Medée_ (Medea), was produced (1797) as an opéra comique without recitative and ballet, the latter being also reserved exclusively for Grand Opéra. Thus it often happened that there was little, in many cases no intrinsic difference between the music of the two schools.