The feminine nature of Massenet's talent has often led him to choose frail members of the fair sex as heroines of his works, such as Mary Magdalen, Eve, Herodias, and Manon. He lacks depth of thought and strength to grapple successfully with Biblical subjects, and the absence of these is not atoned for by an artificiality of expression, and the too frequent employment of affected mannerisms. At the same time, there is a distinct element of poetry noticeable in all his works, and a peculiar sensuous charm is prominent in most of his compositions. These qualities are not to be despised. To them are to be added a richly-coloured and varied instrumentation, and an always interesting and often original harmonic treatment. Massenet's name was now well known to concert-goers, and was shortly to become so to that larger section of the community, the theatre-going public, through the production of his opera "Le Roi de Lahore." Previous to discussing the value of this work it will be well to mention the orchestral suites composed by him at different times, some of which occupy a permanent place in concert _répertoires_. Of these the most popular is entitled "Scènes Pittoresques," a set of four short movements, simple in structure, melodious, and well scored. There is not much in them, but although the material is scanty the workmanship is extremely clever, and the general effect decidedly pleasing. The "Scènes Dramatiques," after Shakespeare, the "Scènes Hongroises," and the "Scènes Alsaciennes" are interesting and replete with imagination and fancy. Perhaps the most remarkable of the composer's purely instrumental works is the overture to Racine's "Phèdre," a composition full of passion and feeling, well worked out and admirably orchestrated, which is fully entitled to rank amongst the best modern concert overtures. It is to be regretted that the composer has not produced more works of the same kind. There is a virility of accent and an avoidance of specific mannerisms that may often be sought for in vain in his other compositions. "Le Roi de Lahore," produced at the Opéra in 1877, obtained a great success, partly, perhaps, owing to the magnificence of the mounting, but also, it must be said, on account of the intrinsic value of the music. A spectacular opera in the fullest sense of the word, "Le Roi de Lahore" was a work eminently suited to a theatre such as the Grand Opéra, where the ballet, _mise-en-scène_, and other accessories rank on an equal footing with the music. It was produced on a grand scale, the ballet act, taking place in the Paradise of Indra, forming one of the most gorgeous spectacles possible.