Unlike Méhul and Spontini, with whom in point of style and method Halévy must be associated, he was not in any direct sense a disciple of Gluck, but inherited the influence of the latter through his great successor Cherubini, of whom Halévy was the favourite pupil and the intimate friend. FROMENTAL HALÉVY, a scion of the Hebrew race, which has furnished so many geniuses to the art world, left a deep impress on his times, not simply by his genius and musical knowledge, which was profound, varied, and accurate, but by the elevation and nobility which lifted his mark up to a higher level than that which we accord to mere musical gifts, be they ever so rich and fertile. The motive that inspired his life is suggested in his devout saying that music is an art that God has given us, in which the voices of all nations may unite their prayers in one harmonious rhythm. Halévy was a native of Paris, born May 27, 1799. He entered the Conservatory at the age of eleven years, where he soon attracted the particular attention of Cherubini. When he was twenty the Institute awarded him the grand prize for the composition of a cantata; and he also received a government pension which enabled him to dwell at Rome for two years, assiduously cultivating his talents in composition. Halévy returned to Paris, but it was not till 1827 that he succeeded in having an opera produced. This portion of his life was full of disappointment and chilled ambitions; for, in spite of the warm friendship of Cherubini, who did everything to advance his interests, he seemed to make but slow progress in popular estimation, though a number of operas were produced. Halévy's full recognition, however, was found in the great work of "La Juive," produced February 23, 1835, with lavish magnificence. It is said that the managers of the Opera expended 150,000 francs in putting it on the stage. This opera, which surpasses all his others in passion, strength, and dignity of treatment, was interpreted by the greatest singers in Europe, and the public reception at once assured the composer that his place in music was fixed. Many envious critics, however, declaimed against him, asserting that success was not the legitimate desert of the opera, but of its magnificent presentation. Halévy answered his detractors by giving the world a delightful comic opera, "L'Éclair," which at once testified to the genuineness of his musical inspiration and the versatility of his powers, and was received by the public with even more pleasure than "La Juive." Halévy's next brilliant stroke (three unsuccessful works in the meanwhile having been written) was "La Reine de Chypre," produced in 1841. A somewhat singular fact occurred during the performance of this opera. One of the singers, every time he came to the passage, "Ce mortel qu'on remarque Tient-il Plus que nous de la Parque Le fil?"