The great work of transition with which Meyerbeer was to crown his brilliant career in Italy and prepare his future triumphs on the French stage, was called _il Crociato Egitto_. This opera, conceived in a broad and severe style, plainly showed the new preoccupations of his mind and gave a glimpse of his approaching evolution. The distinct individuality of the composer showed itself in this remarkable score, in which it was easy to see his inclination for energetic and vigorous expression of the grand dramatic situations. _Il Crociato_, brought out at the Fenice theatre, Venice, Dec. 26, 1824, had for its principal interpreters Mme. Mérie-Lalande, Lablache and Velluti. Its success was immense, and it soon made the tour of all Italy. This success was so great as to move Paris, and the duke of Rochefoucauld, then superintendent of the royal theatres, immediately arranged to have _il Crociato_ played at the _Thèâtre Italien_. He wrote to the composer, inviting him to come and supervise the staging of his opera and direct the rehearsals. The rôles were given to Danzelli, Levasseur, Mmes. Pasta, Monbelli, Schiasetti and Giovanola. This was the first of Meyerbeer's works performed at Paris, and its success was as great as in Italy. [Illustration: GIACOMO MEYERBEER. From woodcut in "L'Univers Illustré," Paris.] Henceforth Meyerbeer was to belong entirely to France. After having seen his _Crociato_ played at the _Italien_, he had the satisfaction of seeing his _Margherita d'Angiù_ translated into French and performed successfully at the _Odéon_. It was to this last fact that he owed the speedy gratification of his desire to work for the musical stages of France, although, owing to an unexpected series of events, he was obliged to await for several years the representation of his first work, and this work, written with the _Opéra Comique_ in view, had to be completely transformed and adapted for the _Opéra_. This is the way it happened.