In 1795 the Paris Conservatory was founded, and Cherubini appointed one of the five inspectors, as well as professor of counterpoint, his associates being Lesueur, Grétry, Gossec, and Méhul. The same year also saw him united to Cécile Tourette, to whom he had been so long and devotedly attached. Absorbed in his duties at the Conservatory, he did not come before the public again till 1797, when the great tragic masterpiece of "Médée" was produced at the Feydeau theatre. "Lodoïska" had been somewhat gay; "Elisa," a work of graver import, followed; but in "Médée" was sustained the profound tragic power of Gluck and Beethoven. Hoffman's libretto was indeed unworthy of the great music, but this has not prevented its recognition by musicians as one of the noblest operas ever written. It has probably been one of the causes, however, why it is so rarely represented at the present time, its overture alone being well known to modern musical audiences. This opera has been compared by critics to Shakespeare's "King Lear," as being a great expression of anguish and despair in their more stormy phases. Chorley tells us that, when he first saw it, he was irresistibly reminded of the lines in Barry Cornwall's poem to Pasta-- "Now thou art like some wingèd thing that cries Above some city, flaming fast to death." The poem which Chorley quotes from was inspired by the performance of the great Pasta in Simone Mayer's weak musical setting of the fable of the Colchian sorceress, which crowded the opera-houses of Europe. The life of the French classical tragedy, too, was powerfully assisted by Rachel. Though the poem on which Cherubini worked was unworthy of his genius, it could not be from this or from lack of interest in the theme alone that this great work is so rarely performed; it is because there have been not more than three or four actresses in the last hundred years combining the great tragic and vocal requirements exacted by the part. If the tragic genius of Pasta could have been united with the voice of a Catalania, made as it were of adamant and gold, Cherubini's sublime musical creation would have found an adequate interpreter. Mdlle. Tietjens, indeed, has been the only late dramatic singer who dared essay so difficult a task. Musical students rank the instrumental parts of this opera with the organ music of Bach, the choral fugues of Handel, and the symphonies of Beethoven, for beauty of form and originality of ideas.