When the composer's next opera, "Alcestis," was produced, in 1776, the queen gave it her decided approbation, and loyally supported Gluck against the king's preference for the older form of opera, and the partisans of the Italian composer Piccini, who was Gluck's rival for the favour of the Parisians. Great was the battle between the warring factions, the "Gluckists" and the "Piccinists," whose differences of opinion sometimes even resulted in personal encounters in the theatre. Between the two composers themselves, matters were more pleasant. When Piccini's "Roland" was being studied, the composer, unused to conducting and unfamiliar with the French language, became confused at a rehearsal. Gluck happened to be present, and, rushing into the orchestra, threw off his wig and coat, and led the performance with such energy and skill that all went smooth again. On the other hand, Piccini, when he learned of the death of his whilom rival, expressed his respect for Gluck by starting a subscription for the establishment of an annual concert to be given upon the anniversary of the composer's death, at which nothing but his music should be performed. Gluck's "Armida" was given its first presentation in 1777, and increased his fame so much that his bust was placed in the Grand Opera beside those of Lulli, Rameau, and Quinault. "Iphigenia in Tauris" was produced in 1779, with great success, but "Echo and Narcissus," the last opera which Gluck gave in Paris, was a failure. He left France for Vienna in the same year, never to return, though his royal pupil pressed him to do so in the most flattering manner.