In 1829 he was appointed, at the Théâtre Italien, to share with Hérold the duties of chef du chant. In that year was produced, at the Opera Comique, his “Le Dilletante d’Avignon,” a parody on Italian opera librettos, which was heartily applauded, and of which the chorus, “Vive, vive l’Italie,” was hummed and whistled and attained to the honor of adoption by vaudeville writers. His next work was “La Langue Musicale,” which, despite some pretty music, failed, owing to the silliness of the libretto. In the spring of 1830, “Manon Lescaut,” a ballet, charming in melody and brilliant in orchestration, was produced with great success, and was published. Then came in 1832 the ballet-opera, “La Tentation,” written in collaboration with Casimir Gide, and though it was well received it brought no fame to Halévy. He had worked faithfully and indefatigably, but as yet without winning the recognition for which he so fervently hoped. Opera after opera was composed with remarkable rapidity, to meet with no greater prosperity than a _succès d’estime_. A one-act comic opera, “Les Souvenirs de Lafleur,” brought him no better fortune. Hérold dying in 1833, and leaving his opera, “Ludovic,” unfinished, Halévy completed it, composing for the first act a fine quartet that was always encored, and writing the whole of the second act. Still, the composer failed to win fame; but the clouds were about to dissipate suddenly and to display his sun at once, in its fullest glory. In 1835, “La Juive” was given at the Grand Opera, and Halévy was hailed as a master composer. The work was received with a frenzy of delight, and in the wild enthusiasm it aroused, the composer enjoyed all that follows recognized genius and well-earned fame in the capital of France. This work opened to him every opera house in Europe, and a career of brilliant success. In the same year in which this masterpiece saw the light, he produced a work of a character so wholly different as to excite wonder that it could have come from the same composer. It is, however, no less great in its way, and was no less overwhelmingly successful. This was “L’Eclair,” a musical comedy for two tenors and two sopranos only, and without choruses. It is exquisitely charming, a model of artistic skill and profound knowledge gracefully employed. These works won for him admission to the Institute, where he succeeded Reiche. Halévy was then thirty-seven years old, and had reached his highest point of greatness, for though he wrote many more operas, he never again equalled “La Juive” and “L’Eclair.”