In judging the operatic version of "Hamlet," the fact must be borne in mind that this was written for the Paris Opera, and subjected to the exigencies of that institution, which were then far more stringent than at the present time, when Wagner has at last been admitted into the stronghold, "Lohengrin" forms part of the regular _répertoire_, and the "Walküre" draws large audiences. Amongst these exigencies must be specially mentioned the introduction of a "ballet" towards the middle of an opera, whatever its subject. Wagner's refusal to conform to this practice had not a little to do with the failure of "Tannhäuser" at the Paris Opera in 1861. The French are ever priding themselves upon their superiority to the rest of the world in all matters theatrical. They are nevertheless prepared to accept the most glaring inconsistencies in the matter of operatic "libretti." What, for instance, can be more incongruous than the introduction of a set ballet in a tragedy like "Hamlet"? This can almost be placed on a similar level of absurdity as the mazourka introduced by Gounod in his "Polyeucte," the action of which takes place during the time of the early Christian martyrs, or as the Scotch ballet supposed to be performed at Richmond in Saint-Saëns' "Henry VIII." Curiously enough, the most successful portion of Ambroise Thomas's "Hamlet" turns out to be precisely this ballet act, during which all the choregraphic resources of the Paris Opera House are called into play. In order to render justice to this work it is necessary to try and forget Shakespeare as much as possible and look upon it in a purely operatic light, when much will be found that can be unreservedly admired. The melodies are refined, and a certain poetical tinge, peculiar to the composer, pervades its pages, whilst the instrumentation is altogether of great excellence. In this last branch Ambroise Thomas has ever shown himself highly proficient, and I do not think that the following remarks of Mons. Lavoix[10] are unmerited: "Mons. Ambroise Thomas' orchestration is clear in its general design, _spirituel_ and ingenious in its details, always interesting and full of poetical touches and of pleasant surprises." The original interpretation of "Hamlet" had much to do with the success that attended it, and the parts of Ophelia and Hamlet found unrivalled exponents in Mme. Christine Nilsson and Mons. Faure. During the rehearsals, in order to be free from interruption, Ambroise Thomas transferred his abode to the Opera House itself, where he was allotted a room and kept a strict prisoner by the manager, with his piano and a goodly assortment of cigars to keep him company, for the composer of "Hamlet" has always been an inveterate smoker. On the night following the first representation he was re-accorded his liberty, and being asked to make a few alterations in his score, plaintively remarked that he thought "his two months were over."