The most recent French composers have shown a tendency to utilize the general plan of the Meyerbeer opera, but to try to infuse into it a genuine dramatic sincerity. They have written fewer cadenzas and more sincerely expressive melody. They have in general adhered to the traditions which have belonged to French opera from its earliest days, the traditions of Lulli, Rameau, and Gluck, but they have superimposed upon the classic outlines of the works of those masters a more attractive sensuous beauty. They have made concessions to the demands of a not profound public, yet they have persistently declined to do everything for mere empty effect, as Meyerbeer did. They have striven to give adequate expression to the dramatic ideas of their librettos, and they have aimed at organic unity in their music; but they have demonstrated their belief that they would achieve their purpose with music of the kind loved by the mass of opera-goers. In this line of practice the most successful of all the French masters was Charles François Gounod, born in Paris, June 17, 1818, and died in the same city, Oct. 18, 1893. He was a student at the conservatoire, where he won the second "prix de Rome" in 1837 and the "grand prix" in 1839. He studied theology for two years, and the effect of his religious pursuits, and his study of the works of Palestrina during a stay of several years in Rome is manifested in some of his compositions. He himself declared that the most powerful musical influence of his career was his first hearing of Mozart's "Don Giovanni." His first opera, "Sapho" was produced April 16, 1851. It had no lasting success. "La Nonne Sanglante" (Oct. 18, 1854) had eleven performances only. These works were produced at the Grand Opéra, but Gounod was now obliged to try his fortunes at the Théâtre Lyrique with "Le medécin malgré lui" (Jan. 15, 1858). Meanwhile he had begun in 1855 the work which was to make his fame. "Faust" was completed in 1857, and produced at the Théâtre Lyrique on March 19, 1859. The work was not remarkably successful at first, but it grew in public favor, till to-day its only rival on the operatic stage is Wagner's "Lohengrin." On Feb. 18, 1860, Gounod produced "Philémon et Baucis," a delicate little opera comique. This was followed by "La Columbe," comic opera (Baden, 1860), "La Reine de Saba," grand opera (Paris, Feb. 28, 1862), and "Mireille," grand opera (1864). None of these had any large measure of success. "Romeo et Juliette" (April 27, 1867) has held the stage, largely because of M. Jean de Reszke's popularity as Romeo. "Polyeucte" (Oct. 7, 1878), "Cinq-Mars" (April 5, 1877), and "Le Tribut de Zamora" (1881) are all dead and buried.