The opera, however, proved to be the one important event in his career that did not result in the complete and absolute success to which he had, for so many years, been accustomed. If Sir Arthur Sullivan gained his fortune in the theatre, as is quite certain, it is equally incontrovertible that he attained his great fame in the concert-room, and, moreover, through the medium of his sacred works, or, perhaps I should say, works dealing with sacred subjects. His first important contribution to purely sacred music was the short oratorio, "The Prodigal Son." Although evidence of immaturity may be occasionally detected, the music shews the firm grasp he had on the technique of composition, and the influence of religious feeling is strongly apparent, as indeed, may be said of all his works of this description.[33] Produced at the Worcester Festival in 1869, it achieved a success that augured well for his future efforts in this region, which he had evidently chosen as the one most appealing to his genius and temperament. After an interval, during which he produced, among other interesting compositions, the overture "Di Ballo"--a work full of sparkling and original music, which he scored, it may be said, at a time of great physical suffering--his oratorio, "The Light of the World," a work on much larger lines than its predecessor, was given to the public as the principal attraction of the Birmingham Festival in 1873. Although its reception by the audience was flattering enough, it cannot be said that it aroused any enthusiasm among the critics. In fact, it aroused considerable controversy, some maintaining that so far from being an advance on, it lacked the admitted promise of "The Prodigal Son"; while others were equally pronounced in their views as to its superlative merits. Although subscribing to neither opinion, I cannot but think that the former contained more truth than the latter. That "The Light of the World" contains much that is beautiful is not denied, but that it contains some that nearly verges on the common-place, cannot, I am afraid, but be admitted. It has fallen into desuetude for many years now. In a short summary of Sir Arthur Sullivan's career, as this must, necessarily be, I have to leave unrecorded much that is both interesting and important.[34] I content myself, therefore, with some reference to those works upon which his fame, so far as serious music is concerned, will chiefly rest. "The Martyr of Antioch" was produced at the Leeds Festival in 1880. It was an event of particular significance in his life. The continued successes of his Savoy comic operas, and the popularity gained by his songs, had begun to make a decided effect on the public mind, which was rapidly losing count of the other side of the versatile composer--that of more serious import. It was, then, with no little interest and speculation that the production was awaited.