A curious incident in connection with the first performance of this opera was that the composer, doubtless anxious to seek perfect rest after his prolonged labours, and desirous of avoiding the fatigues consequent upon attending its production, took himself away and carefully omitted to leave his address behind. Weeks elapsed, and no news of him was forthcoming. Fanciful stories were concocted of how he had met with foul play. Telegrams were dispatched all the world over, with the result that he was authoritatively declared to have been seen in at least a dozen different places several hundred miles away one from the other. Finally, he was discovered, quite by chance, under an assumed name in the Canary Islands. A visitor staying in the same hotel, hearing some one playing the piano in a manner the reverse of amateurish, and having that morning read about the mysterious disappearance in the French papers, had the curiosity to go down and verify the suspicions that had occurred to him. He had no difficulty in identifying the composer, and in a very short time the news had spread all over the place. Saint-Saëns then had to pay the penalty of being a celebrity. He wrote thus to Mons. Louis Gallet, his friend and collaborator: "For the last three days, since I have been recognised, I lead an insupportable life. I do not have a moment to myself. I am scribbling you these lines whilst talking. If there is no common sense in what I say, do not be surprised." The last dramatic work produced by Saint-Saëns is "Phryné," a two-act comic opera, given at the Opéra Comique in the month of May of the present year (1893). It might have been hoped that a composer such as Saint-Saëns would have thought fit to devote his great gifts to the elaboration of a "musical comedy" that might have ranked side by side with Wagner's "Meistersinger" and Verdi's' "Falstaff." Not one of his countrymen is better qualified than he is for such a task. Perhaps he may undertake it later on. At any rate, he has not attempted anything of the kind in "Phryné," which is modelled upon an old pattern, includes spoken dialogue, and consists of a number of detached pieces, following the conventional practice associated with the Opéra Comique. In writing this graceful score Saint-Saëns has evidently aimed at simplicity. There are some charming numbers of a melodious nature in this little work, which also displays the composer's capacity of dealing with humorous situations to great advantage. Perhaps the best portion is the "Invocation to Venus," in which the means employed are of the simplest, whilst the results are eminently poetical and effective. "Phryné" has proved very successful in Paris. The title part has been interpreted by Miss Sybil Sanderson, whom the composer has gratified with a liberal allowance of _roulades_ and other vocal acrobatics.