Massenet's reputation was now established upon a solid basis. On the death of F. Bazin he had succeeded him as one of the leading professors of the Conservatoire. He had also been elected a member of the Institute. His next work, a religious cantata entitled "La Vierge," produced at the Opéra in 1880, was, however, coldly received. Massenet, who conducted the orchestra in person, was grievously disappointed at this, but set to work with renewed vigour at an opera entitled "Hérodiade," which was brought out with great success at Brussels in 1881. This work has since been given in Paris, as well as in various continental towns, where it has been well received. The nature of the subject necessarily stands in the way of its being produced in London. Certain extracts, however, have been heard in our concert-rooms. The score of "Hérodiade" abounds in examples of that sensuous melody so characteristic of the composer. There is very little Biblical about it, and it is to be regretted that another and better subject was not hit upon than this parody of Holy Writ. Massenet's strains would probably have been equally appropriate, and the susceptibilities of those who look upon this sort of thing as a desecration of religion would have been respected. There is indeed a vast difference between taking a subject like "Samson et Dalila," against which none but the most strict could object, and turning St. John the Baptist into a commonplace operatic hero. If it were not for the libretto, "Hérodiade" ought to be heard in London, as it counts amongst its author's best works, and, despite certain weaknesses, occupies an honourable place in the ranks of modern operas. The following lines, written by Camille Saint-Saëns after the first performance of "Hérodiade" at Brussels, will be read with interest. I will not spoil the charm of the original words by attempting to translate them; "La qualité maîtresse de la musique du jeune maître est la fraîcheur, qualité si rare que M. Massenet me parait être le seul à la possèder. On dirait par moments qu'il n'en sent pas le prix, à le voir poursuivre, en apparence du moins, un idéal de force violente. N'est-ce donc rien que le parfum de la rose, la voix du rossignol et l'aile du papillon? Bien des gens trouveront que la rose, le rossignol et le papillon ne sont pas fort a plaindre, et qu'ils n'ont que faire de lutter avec le tigre et le mancenillier."