The chorus occupies but a small place in "Le Rêve," and the choristers are never seen upon the stage. A few bars for the sopranos, supposed to represent the voices in the air heard by Angélique, an "Ave verum," sung in the cathedral, and an old French hymn heard in the distance sung as a procession is passing underneath the windows, represent the choral numbers. At the commencement of the second scene we have a lively dance to an old French tune. In this place I think the effect would have been greatly enhanced by the adjunction of voices to the orchestra. This would have been æsthetically correct, as there is a certain incongruity in the fact of a number of young girls dancing and apparently enjoying themselves in silence. I would draw attention to the admirable delineation of the dear old embroiderers, as kindly a couple as could well be imagined, a creation that Dickens might well envy, whose characteristics have been musically transcribed by Bruneau in accents so suave and so touching. The composer of "Le Rêve" possesses the sense of contrast to a very high degree. Witness the manner in which he has set the following words when the Bishop describes how his motto, "Si Dieu veut, je veux!" came to be adopted by his family: "_Pendant une peste cruelle, Il pria tant que Dieu le fit vainqueur Du terrible fléau.--Pour ramener la vie Aux corps déjà glacés par l'agonie, Il se penchait vers eux, Les baisait sur la bouche et n'avait rien qu'à dire Aux mourants: 'Si Dieu veut, je veux!' On voyait les mourants sourire; Car, dès qu'il les touchait des lèvres seulement, Les malades étaient guéris soudainement._"[28] The part dealing with the description of the plague is accompanied by a strange and gruesome succession of chords, which gradually leads to a lovely melody typical of the miracle that is supposed to have been worked. Nothing can be more appropriate than the strains that accompany the above words to which they appear intimately allied. When "Le Rêve" was given at Covent Garden it was accorded a well-nigh perfect rendering. Mdlle. Simonnet realised the character of Angélique to the life, and imparted an infinity of charm to the music. The part of the Bishop furnished Mons. Bouvet with the opportunity of presenting an admirable character study. The remaining parts were exceptionally well performed by Mdme. Deschamps-Jéhin, and Messrs. Engel and Lorrain. A better _ensemble_ it would be difficult to imagine. The orchestra was conducted by Mons. Jéhin. Like so many other composers, Alfred Bruneau is also a musical critic, and has succeeded the late Victor Wilder in that capacity upon the _Gil Blas_. Victor Wilder was ever one of the strongest advocates of Wagner on the Parisian press, and it is to him that are due the excellent translations into French of the master's later music dramas.