The composer’s first decided success was the overture to “Sakuntala,” opus 13, written in 1864, and now known favorably all over Europe and in this country. In 1865, while walking in one of the principal streets of Vienna, he saw a picture of the Queen of Sheba visiting Solomon. The picture made a vivid impression on his imagination, and at length he went to H. S. Mosenthal, the well known dramatist, author of “Leah, the Forsaken,” and begged him to undertake the task of constructing a libretto out of the story which had grown up in the composer’s mind. In three years the opera was finished in its first shape, but Goldmark was dissatisfied with it. Mosenthal made the desired changes in the book, and about one-half of the score was rewritten, the work being finished early in 1872. Goldmark then submitted it to Joseph Herbeck, conductor of the court opera at Vienna. It is believed that Herbeck was jealous of Goldmark, because the latter had defeated him in a competition for a Government prize of 800 gulden. At any rate Herbeck kept the score of “The Queen of Sheba” locked up for two years. Finally, at a musicale given by the Princess Hohenlohe, whose husband was master of ceremonies to the Emperor, Ignatz Brüll, then a rising young pianist, played some selections from Goldmark’s opera. The Princess and others, pleased by the music, asked Brüll some questions about the work, and the story of Herbeck’s delay over the score came out. The influence of the Princess and the Countess Andrassy led to an imperial command for the production of the opera, and it was accordingly performed on March 10, 1875. The success of the opera was great and the composer was called out nearly forty times. “The Queen of Sheba” has been given in various European cities, and was first performed in America at the Metropolitan Opera House, New York, on Wednesday, Dec. 2, 1885, with the following cast: Sulamith, Frau Lilli Lehman; the Queen, Frau Krämer-Wiedl; Astaroth, Fräulein Marianne Brandt; Solomon, Herr Robinson; Assad, Herr Stritt; Baal Hanan, Herr Alexi; High Priest, Herr Fischer. The conductor was Anton Seidl. It was the most successful opera in the repertory of the house that season, being presented fifteen times, to aggregate receipts of $60,000. It was given four times the following season, and again five times in the season of 1889–90, always to audiences of good size. His second opera, “Merlin,” was produced in Vienna Nov. 19, 1886, and at the Metropolitan Opera House Jan. 3, 1887, with the following cast: Viviane, Lilli Lehmann; Morgana, Brandt; Artus, Robinson; Modred, Kemlitz; Gawein, Heinrich; Lancelot, Basch; Merlin, Alvary; Dämon, Fischer. The conductor was Walter Damrosch. It was performed five times in the course of the season, but did not achieve the success of its predecessor. While waiting for the production of “The Queen of Sheba,” Goldmark wrote his B flat quartet and his suite for piano and violin.