This article fell like a thunderclap on Paris, where people were scarcely giving Gounod a thought. A very distinguished French musical critic, Louis Viardot, was then in London with his wife, the worthy and noble sister of Malibran. This Athenæum article was attributed to him, not without reason, I think, and it was soon known that Mme. Viardot, whose experience, taste and musical knowledge everyone knows, was struck by the music of the young master, and that she was far from concealing her admiration for a talent so pure, so elegant and so exquisite. Excited by such a success Gounod at once renounced his orders, and entered without more delay upon the militant career of the art interrupted for so many years. He soon produced in public a pretty symphony in E flat, which, performed in a remarkable manner by the Saint Cecilia Society, then a worthy rival of that of the Conservatoire, won him the congratulations and sincere encouragement of the critics. Then, thanks to the assistance of Mme. Viardot, he was charged with writing for the _Opéra_ the score of a work in three acts, “Sapho,” the libretto of which had been confided to a young poet, Emile Angier, who was likewise in the morning of his career, and likewise destined for glory, and in this work the great artist whom we have just named, was to take the principal rôle. Notwithstanding all, “Sapho” was not well received by the public, or at least only moderately so and scarcely achieved more than what is called in France a success of esteem. Yet the work was an exceedingly good one, but the first step on a stage so important as that of the _Opéra_ is so difficult for a young composer to make! It must be said, however, that if the work as a whole was not judged entirely satisfactory, especially in regard to the scenic effects, etc., it presented a value which a fastidious critic stated in these terms: “The opera of “Sapho,” without being a good dramatic work, is the work of a distinguished musician who has style and lofty tendencies. M. Gounod has perfectly seized and happily rendered all the lyric parts of the subject which he has treated, but he has been less happy in trying to express the conflict of passions and the contrast of characters.” Certain pages in the score of “Sapho” were remarked as being quite individual in flavor, and the public were especially delighted with the beautiful song of the young shepherd, “Brontez le Thym, Brontes mes chêvres,” as well as the admirable couplets of “Sapho,” of a character so melancholy, and an inspiration so full of a delicate poetry. The work was performed on the 16th of April, 1851.