Opposition came, as might have been expected, from both sides;[79] the followers of Lully and Rameau would not grant any progress made, and saw in Gluck's innovations nothing but the harmful influence of Italian music,[80] while the partisans of the Italians looked upon Gluck's music as essentially identical with the "old French," and complained of the "tudesque" modifications of the Italian style.[81] As usual, neither party was satisfied with the concessions made to it, and still less would either acknowledge that its strong places had been overthrown. J. J. Rousseau alone acknowledged himself vanquished; and as he had previously done justice to Grétry's efforts, so he now extolled Gluck's music as being genuinely dramatic.[82] Not so Grimm. He was too well versed in Italian music not to perceive that if Gluck's ideas became prevalent, those forms which he held to be essential would soon be annihilated; Gluck's operas appeared to him a revival of the old French style, which would {GLUCK'S OPERAS IN VIENNA.} (31) only hinder or retard the triumph of the Italian. It is true that out of deference to public opinion, and to that of many of his friends and of Gluck's royal patroness, he does not express himself very positively on the subject, but his real views cannot be mistaken.[83] With just discrimination the directors had declared that they would not risk appearing before the public with one of Gluck's operas; if he would write six, they might have a chance of success. Gluck himself was aware that if he was to succeed in the long run, his "Iphigénie" must not be left long alone. He rapidly revised and elaborated "Orphée et Euridice," not at all to the advantage of the opera, in which he was induced, quite against his principles, to insert a long bravura aria by Bertoni.[84] It was performed on August 2, 1774, with great success,[85] and was followed on February 27, 1775, by a one-act opera, "L'Arbre Enchanté," and on August 11, 1775, by an opera in three acts, "La Cythère Assiégée," neither of which had any lasting effect. In order to insure a fresh and lasting success Gluck took in hand his "Alceste" anew. The text was thoroughly revised by Du Rollet, with the adoption of Rousseau's suggestions, especially in the second act; Hercules is introduced again, but not very skilfully.[86] Gluck's revision was a very thorough one; the old music was transposed, curtailed, or lengthened, the details altered, and new passages inserted, generally with admirable discrimination.[87] Then, in order to put new works in direct competition with his old compositions, he undertook to set operas by Quinault to music unaltered, and chose "Roland" and "Armida." While Gluck was engaged on these works in Vienna, the {FRENCH OPERA.} (32)