The year after “La Juive” was produced, Meyerbeer’s “Les Huguenots” appeared and proved to be an epoch-making opera. Its instant and enormous success had an unfavorable effect on Halévy, for he abandoned his own peculiar individuality of style, and became a follower, if not an imitator of Meyerbeer. Still worse, for in his eagerness to compose, he was not particular in his choice of librettos, and accepted any to which music could be written. The result was a series of opera books, mostly of a gloomy turn, that no music could deprive of their tiresomeness or make interesting. Under this unwise course of action he soon exhausted his musical invention and became nearly as dull as were his librettos. “Les Mousquetaires de la Reine,” and “Le Val d’Andorre,” two fine operas, must be excepted. His industry was astonishing, as will be seen by the following complete list of the works that succeed his two crowning triumphs: “Guido et Ginevra,” grand opera, five acts, 1838; “Les Treize,” comic opera, three acts, and “Le Shérif,” comic opera, three acts, 1839; “Le Drapier,” comic opera, three acts, 1840; “Le Guiterrara,” comic opera, three acts, and “La Reine de Chypre,” grand opera, five acts, 1843; “Le Lazzarone,” comic opera, two acts, 1844; “Les Mousquetaires de la Reine,” comic opera, three acts, 1846; “Le Val d’Andorre,” comic opera, three acts, 1848; incidental music for “Prométhée Enchainé,” and “La Fée aux Roses,” comic opera, three acts, 1849; “La Tempesta,” grand opera, three acts, and “La Dame de Pique,” comic opera, three acts, 1850; “Le Juif Errant,” grand opera, five acts, 1852; “Le Nabab,” comic opera, three acts, 1853; “Jaquarita l’Indienne,” comic opera, three acts, 1855; “Valentine d’Aubigny,” comic opera, three acts, 1856; “La Magicienne,” grand opera, five acts, 1858; “Noé,” grand opera, five acts (unfinished); “Les Plages du Nil,” cantata with chorus and orchestra, besides numerous vocal pieces and some music for the pianoforte. Of all these operas only “Les Mousquetaires” and “Le Val d’Andorre” survive through occasional performances. The latter, when originally produced, saved the Opéra Comique from bankruptcy, and ten years later relieved the Théâtre-Lyrique from pecuniary difficulties against which it then struggled. [Illustration: CARICATURE OF HALÉVY BY DANTAN. From the Carnavalet Museum, Paris. ] In addition to the production of this immense mass of operatic music, Halévy was able to fill the part of one of the principal professors at the Conservatoire. In 1831 he was made professor of counterpoint and fugue, and in 1840 he became professor of composition. He wrote a book of instruction, entitled, “Leçons de lecture musicale,” which first appeared in 1857. It remains, in a revised form, the accepted text-book for teaching solfeggio in the primary schools of Paris. Among his more distinguished pupils were Gounod, Victor Massé, Bazin and Bizet, the last-named of whom married Halévy’s daughter.