After the immense success of "Faust," the doors of the Academy were opened wide to Gounod. On February 28, 1862, the "Reine de Saba" was produced, but was only a _succès d'estime_, the libretto by Gérard de Nerval not being fitted for a lyric tragedy.[S] Many numbers of this fine work, however, are still favourites on concert programmes, and it has been given in English under the name of "Irene." Gounod's love of romantic themes, and the interest in France which Lamartine's glowing eulogies had excited about "Mireio," the beautiful national poem of the Provençal, M. Frédéric Mistral, led the former to compose an opera on a libretto from this work, which was given at the Théâtre Lyrique, March 19, 1864, under the name of "Mireille." The music, however, was rather descriptive and lyric than dramatic, as befitted this lovely ideal of early French provincial life; and in spite of its containing some of the most captivating airs ever written, and the fine interpretation of the heroine by Miolan-Carvalho, it was accepted with reservations. It has since become more popular in its three-act form to which it was abridged. It is a tribute to the essential beauty of Gounod's music that, however unsuccessful as operas certain of his works have been, they have all contributed charming _morceaux_ for the enjoyment of concert audiences. Not only did the airs of "Mireille" become public favourites, but its overture is frequently given as a distinct orchestral work. The opera of "La Colombe," known in English as "The Pet Dove," followed in 1866; and the next year was produced the five-act opera of "Roméo et Juliette," of which the principal part was again taken by Madame Miolan-Carvalho. The favourite pieces in this work, which is a highly poetic rendering of Shakespeare's romantic tragedy, are the song of _Queen Mab_, the garden duet, a short chorus in the second act, and the duel scene in the third act. For some occult reason, "Roméo et Juliette," though recognised as a work of exceptional beauty and merit, and still occasionally performed, has no permanent hold on the operatic public of to-day.