the concerts of sacred harmony established by Lamoureux. In this, too, the composer’s personality is emphasized by exquisitely delicate and poetic touches. The same may be said of “La Vierge,” a sacred legend in four parts, written for the Opéra concerts and played for the first time in 1880. The “Sleep of the Virgin” in this legend is one of those inspirations which prove beyond all doubt the measure of a composer’s genius. A year before the production of “La Vierge,” Massenet had given the French National Academy of Music his first great opera, “Le Roi de Lahore,” in five acts, the success of which was not at first evident. The public considered this beautiful music slightly cold, and instrumental rather than vocal. They said the composer had shown himself wanting in melody, and that he had sacrificed too much to his love for scientific combinations, although wild applause greeted a certain number of happily-conceived songs, among others the aria so splendidly rendered by Lassalle and which has always been honored with an encore. It is only when great works are reproduced after a certain interval of time that we can determine whether they are really worthy a place in the musical repertory. The reproduction at the Opéra of the “Roi de Lahore” was a great success, and it has always been enthusiastically received in the principal theatres of Europe and America. The Théâtre de la Monnaie, at Brussels, enjoyed the privilege of giving, in 1881, the first performance of Massenet’s second grand opera, “Hérodiade” in three acts and five tableaux. This time success was beyond all doubt, and from the first representation onward, the piece was received with enthusiasm. Whatever M. Massenet may hereafter give to the world, “Hérodiade” will undoubtedly remain one of the finest works that have originated in the fertile brain of this distinguished musician. Throughout the work the divine afflatus is maintained, and melody fills the auditorium. The opera is full of passion and sentiment, at once human and religious, just as in “Marie Madeleine.” It might be said that “Hérodiade” is the same sacred drama brought upon the stage, with this difference, that Madeleine becomes Salome, and Christ is transformed into John. After “Hérodiade,” in Brussels, we had, in 1884, “Manon” at the Opéra Comique in Paris. Were I asked to make a definite choice between “Hérodiade” and “Manon” I should hesitate; but I should choose “Manon.” From the first to the last note the work is delightful. It is not less beautiful when softly sung at home to the accompaniment of the piano, than in the theatre, where our delight never for an instant moderates. Following “Manon” in 1885, Massenet’s “Le Cid” in four acts, was performed at the Grand Opéra in Paris, and although reproduced several times, this work still maintains its place in the repertory.