The second was his acquaintance with the French comic opera, which until the year 1752 had been given only on the improvised stage; a new era began for this when in the same year a troupe of Italian bouffe singers arrived in Paris and was received with enthusiastic interest by the public. For the first time scenes from daily life appropriately staged were enacted upon the operatic stage in place of the customary frigid representation of a mythological character. All this was to the extreme disgust of the conservative, but to the unbounded delight of the progressive who, with the representative of philosophic enlightenment J. J. Rousseau, anticipated for art and life a healthy return from artificial to natural conditions. In the bitter struggle between these parties, a struggle to which the appearance of the opera-bouffe gave rise, progress was victorious. The most competent poets and composers of France did not hesitate to follow the lead of Italy, and while from the modest "Intermezzo" they developed the "Opera comique," they showed the world that owing to her artistic nature France, above all other nations, was best fitted to represent this new style of art. In view of the influence which France had exerted over the intellectual life of Europe since the time of Louis XIV., it was quite natural that the neighboring nations should wish to share in the new acquisition. From 1755 therefore, the comic opera, which originated in Paris, was invariably performed in Vienna as well. Meanwhile, in most cases the librettos were satisfactory and the composition was confided to local musicians, among whom Gluck took first rank, having been Kapellmeister since 1754. His works of this kind which are preserved to us as "Airs nouveaux" to the respective librettos, consist of songs with simple piano accompaniment in light French style. One of these operettas, Lemonnier's "Cadi dupé," became a great favorite throughout Germany under the title of "Der betrogene Cadi," and when given again but a short while ago in the opera house at Berlin, it maintained, in spite of its hundred years, its original crispness and popularity. Gluck's French operettas may be regarded as occasional works, as incidental to his masterpieces. They are not to be lightly esteemed, however, for they virtually served to bring his ideas of reform to a focus and to prepare him for the war which he subsequently declared against the older Italian opera.