The French school of light opera, founded by Grétry, reached its greatest perfection in the authors of "La Dame Blanche" and "Fra Diavolo," though to the former of these composers must be accorded the peculiar distinction of having given the most perfect example of this style of composition. FRANÇOIS ADRIEN BOÏELDIEU, the scion of a Norman family, was born at Rouen, December 16, 1775. He received his early musical training at the hands of Broche, a great musician and the cathedral organist, but a drunkard and brutal taskmaster. At the age of sixteen he had become a good pianist and knew something of composition. At all events, his passionate love of the theatre prompted him to try his hand at an opera, which was actually performed at Rouen. The revolution which made such havoc with the clergy and their dependants ruined the Boïeldieu family (the elder Boïeldieu had been secretary of the archiepiscopal diocese), and young François, at the age of nineteen, was set adrift on the world, his heart full of hope and his ambition bent on Paris, whither he set his feet. Paris, however, proved a stern stepmother at the outset, as she always has been to the struggling and unsuccessful. He was obliged to tune pianos for his living, and was glad to sell his brilliant _chansons_, which afterwards made a fortune for his publisher, for a few francs apiece. Several years of hard work and bitter privation finally culminated in the acceptance of an opera, "La Famille Suisse," at the Théâtre Faydeau in 1796, where it was given on alternate nights with Cherubini's "Médée." Other operas followed in rapid succession, among which may be mentioned "La Dot de Suzette" (1798) and "Le Calife de Bagdad" (1800). The latter of these was remarkably popular, and drew from the severe Cherubini the following rebuke--"Malheureux! Are you not ashamed of such undeserved triumph?" Boïeldieu took the brusque criticism meekly and preferred a request for further instruction from Cherubini--a proof of modesty and good sense quite remarkable in one who had attained recognition as a favourite with the musical public. Boïeldieu's three years' studies under the great Italian master were of much service, for his next work, "Ma Tante Aurore," produced in 1803, showed noticeable artistic progress. It was during this year that Boïeldieu, goaded by domestic misery (for he had married the danseuse Clotilde Mafleuray, whose notorious infidelity made his name a bye-word), exiled himself to Russia, even then looked on as an El Dorado for the musician, where he spent eight years as conductor and composer of the Imperial Opera. This was all but a total eclipse in his art-life, for he did little of note during the period of his St. Petersburg career.