Gounod’s unfortunate attempts at the _Opéra_ led him to turn his attention anew to the _Théâtre-Lyrique_, where he brought out, March 19, 1864, a work entitled “Mireille,” the subject of which was taken from a pretty provincial poem by Frederic Mistral, bearing the same title, (Mireio). This poem is an exquisite pastorale, written in that provincial language at once so musical, so sweet and harmonious, a language which is melody in itself. Unhappily, the libretto which Gounod set to music on this subject was badly chosen, being ill adapted to the stage, and therefore militated against the composer’s work, although the latter contained some truly charming pages. The first act, particularly, radiant with light and sunshine, is charmingly poetic, and especially deserving of mention is the beautiful chorus of the magnarelles and the touching duet of Mireille and Vincent. The score contains still other charming bits, such as Magali’s beautiful song and Taven’s couplets: Voici la saison, mignonne. However, the defective libretto stood in the way of the success of the work, which at first remained undecided. It was found necessary to entirely rewrite the work, to make large suppressions, and reduce it from five to three acts, which did not result in its being any better received by the public. It was not until later, when it was transferred to the _Opéra Comique_ after having been subjected to still further revisions and cast in its final form, that “Mireille” at last found the success which its incontestable musical value merited. Thereafter, it never left the repertoire of that theatre. No particular importance can be attached to a little work in two acts, “La Colombe,” which Gounod gave to the _Opéra Comique_ in 1866, and which he had written some years before for the theatre at Baden; it was a sort of salon operetta, without special character or consequence. But the composer was yet to carry off one of the most brilliant victories of his career with “Roméo et Juliette” which made its first appearance at the _Théâtre-Lyrique_ on the 27th of April, 1867. More fortunate than “Faust” and “Mireille,” whose success had been so difficult to establish, “Roméo et Juliette” was well received from the very outset, and this superb score in which the passion of love and the sentiment of chivalry are so happily united, immediately found favor with the public. Nor has it ever ceased to excite public sympathy, and it has changed its biding-place from the _Théâtre-Lyrique_ to the _Opéra Comique_, and from that theatre to the _Opéra_ without experiencing any diminution of public interest. “Roméo et Juliette” has exceeded the number of five hundred performances in Paris, one hundred of which were at the _Théâtre-Lyrique_, about three hundred at the _Opéra Comique_ and more than one hundred at the _Opéra_. Outside of France it has not been less successful, and it has made a part of the repertoire of all the great theatres of Europe.