Gounod's fame and his influence as a composer of opera will rest on "Faust" and "Romeo et Juliette." The ground plan of both these operas is distinctly Meyerbeerian. The differentiating factor is Gounod's dramatic sincerity. In every scene of "Faust" one finds evidence of the composer's earnest search after the correct and convincing musical embodiment of the emotions of his personages. There is no attempt at establishing musical connecting-links between the different scenes, except in the simple expedient of causing Marguerite, in her insanity in the last act, to recall the music of her early acquaintance with Faust. For the rest, Gounod has treated each scene as a separate entity and has aimed at giving it an adequate and finished musical setting. His forms are very free, and the recitative is almost wholly in the arioso style with full orchestral accompaniment. There is some successful characterization in "Faust." The music of Mefistofeles is thoroughly suitable to the personage as set forth by the librettists. The influence of Rameau and Gluck may be found in this work, in its definite and consistent attempt at dramatic fidelity. That of Meyerbeer may be seen in the distribution of the vocal numbers and the stage pictures, such as the Kermess scene and the return of the troops. Compare the sextet of men in "Les Huguenots" with the trio of men in the duel scene of "Faust," if you desire to hear the very echo of Meyerbeer's song. But Gounod's honesty forbade him to write claptrap, and he does not make many concessions to the singers. The artistic value of "Faust" is very high. It is one of the purest and most beautiful lyric dramas now on the stage. The scene in the cathedral and the death of Valentine are not equalled in beauty and dramatic truth by anything in the works of any other French composer, and have been excelled perhaps only by Mozart, Wagner, and Verdi. "Romeo et Juliette" shows less originality and inspiration than "Faust," but contains scenes of genuine beauty and dramatic power. The evidences of Meyerbeer's influence are quite as notable as they are in the earlier work, but in general Gounod's style of music prevents him from falling into mere empty display. Georges Bizet, born at Paris Oct. 25, 1838, and died in the same city, June 3, 1875, wrote several operas, of which "Carmen," produced March 3, 1875, remains one of the most popular works of the time. The ground plan of this drama is formed on essentially French lines, and in the dramatic fidelity of its music and its general freedom from meretricious display it stands directly in the line of the development of the lyric drama in France. There is some employment of leading motives in the Wagnerian style, but it is discreet and moderate. The work displays great originality in its use of Spanish rhythms and in its scheme of harmonic color. It is a noble work, a true music drama, and its fame is well deserved.