After having been the first town to offer hospitality to "Sigurd," Brussels was destined to have the _primeur_ of "Salammbô," the last opera that Reyer has composed, which was brought out in 1890 with great _éclat_, and produced later on in Paris, where it at once succeeded in establishing itself in the favour of the public. Perhaps of somewhat less sustained interest than "Sigurd," the music of "Salammbô" shows the same tendencies on the part of its composer to adhere to a strict interpretation of the drama, and contains many pages of great beauty. Those who have read Flaubert's powerful and imaginative work will probably consider it somewhat unsuited for the purposes of a "lyrical drama." It must be admitted, however, that the composer has found in it a subject well adapted to his artistic temperament, and that it has enabled him to produce a work which is an honour both to himself and to his country. The production of "Salammbô" in London is an event much to be desired, and a revival of "Sigurd" would also be of the greatest interest. Now that the British public are more familiarised with Wagner's "Nibelungen Ring" they would be able to draw interesting comparisons between the treatment of the same legend by the German master and the French composer. If Reyer has acquired a well deserved reputation in France as a composer, he is equally well known as a writer on music, and for many years has occupied the post of critic to the _Journal des Débats_, formerly held by Berlioz. The opinions advanced by Reyer have always been remarkable for sound common sense. An intimate friend and ardent admirer of Berlioz, he enjoys the credit of having been one of the first in France to recognise the genius of Wagner. The perfect honesty of his convictions is apparent to those who read his writings with care, and it may in passing be noted to his honour that when the course of time and increased acquaintance with his subject have caused him to modify any previously expressed opinions, he has never hesitated to say so. No one is infallible, but many pretend so to be. When travelling in Germany in 1864 Reyer, who was already a strong admirer of Wagner's earlier works, had occasion to run through the score of "Tristan," then still unperformed. The first impressions produced upon him by this most complicated of scores was not a favourable one, and Reyer in stating this avowed that his admiration for the German master would stop at "Lohengrin," until the beauties of the "Nibelungen Ring" should have been revealed to him.