But let it not be supposed that the triumphal career of “Faust” was not confronted at the outset with difficulties and obstacles which appeared insurmountable. When it was carried by the authors to the _Théâtre-Lyrique_, there was in preparation at the Porte Saint Martin theatre another drama built on Goethe’s poem, and bearing the same name. M. Carvalho told Gounod that it would be necessary to await the result of the “Faust” at the Porte Saint Martin, for if that work won a success, it would be very difficult and very hazardous to offer another “Faust” to the public. So they waited, and the drama not proving a success, it was decided to proceed with the study of the opera. Gounod’s “Faust” was presented in the form styled in France _Opéra Comique_, that is to say, the singing parts being interspersed with spoken dialogue. (It was not until later when “Faust” passed into the repertoire of the _Opéra_ that this dialogue was replaced by recitatives.) The rôle of Marguerite was first given to Mme. Ugalde, but Mme. Carvalho having expressed a desire to take the rôle, after becoming acquainted with the music, the authors transferred it to her and consoled Mme. Ugalde by giving her the part of Mélodine in Victor Massé’s opera, “La Fée Carabosse,” which was being mounted at the same time. The rehearsals of “Faust” were very laborious. M. Carvalho, disconcerted by the new and daring character of the music, and by the poetic sentiment revealed in it, which he judged incompatible with stage requirements, picked a quarrel with the composer, declared his score too much developed, and constantly demanded new cuts and changes. Gounod, made uneasy by this lack of confidence, had yielded to several of these demands and had already consented to several suppressions, when at last M. Carvalho came to him one day with a proposition to suppress the beautiful final scene in the garden, fearing that this quiet scene, with no outburst or noise of any kind, would seem cold to the public and fail to produce an effect. This time Gounod, who had faith in his work and was conscious of its value, stood fast and immovable, declaring he would rather withdraw his score than to yield this point and consent to such a sacrifice. In short, after a whole series of combats and discussions of this sort, which were renewed daily, the work was finally brought out. Truth compels the confession that it was not fully understood at first; that the critics stood hesitating and undecided in the presence of a work so new in form, and that the public itself was of two minds regarding the value of the work, some applauding with enthusiasm while others harshly criticised. It is certain that the first reception was more cold and reserved than could have been desired, but gradually people began to understand and appreciate the beauties abounding in this exquisite score, and at last its success was complete, brilliant and incontestable, spreading first throughout France, then over Europe, then