"These are, however, terms imagined rather for the purpose of defending certain ideas than for designating certain works, as there exist in the classical form of opera masterpieces worthy of eternal and fervent admiration. One does not necessarily run down works such as 'Don Juan,' 'Fidelio,' 'Iphigénie,' and so many others in desiring the rejuvenescence of an art that owes to these masterpieces its imperishable glory. "After Gluck, Mozart, Beethoven, Wagner, fresh innovators will come, who, respectful of the traditions of the past and eager for the conquests of the future, will still further enlarge the field of action of the musical drama." The above words may be taken in a measure as furnishing Bruneau's profession of faith as regards matters operatic. He has finished the score of a new "lyrical drama" entitled "L'Attaque du Moulin," founded upon a tale of Zola, which at the time I am writing has not yet been performed. It is to be produced shortly at the Paris Opéra Comique Theatre. I must not fail to allude to Bruneau's characteristic settings of Catulle Mendès' "Lieds de France," which are distinguished by an evidently studied simplicity of expression. Unless I am mistaken, it was the late Victor Wilder, his predecessor on the _Gil Blas_ who once alluded to the composer of "Le Rêve" as "the standard-bearer of the young French school," a qualification to which he is, in my humble estimation, well entitled. NOTE.--Since this volume has gone to press, "L'Attaque du Moulin" has been produced at the Paris Opéra Comique, with great success. SOME OTHER FRENCH COMPOSERS It may with truth be averred that France has never been so well provided with composers of talent as she is at the present time. Every year the far-famed Conservatoire turns out a number of young men whose musical knowledge is undeniable, and who are all of them filled with buoyant hopes of achieving distinction in the arena of fame. The musical progress that has been effected in France during the last thirty years is immense. This may be largely attributed to the initiative of Pasdeloup[29] the organiser and conductor of the celebrated concerts which were started at the Cirque d'Hiver in 1861, and to the zeal and talent of his successors Messrs. Lamoureux and Colonne. It is through the efforts of the above indefatigable _chefs d'orchestre_ that instrumental music of a high class has come to be generally appreciated in Paris. The famous Conservatoire concerts, it must be remembered, were, and are, only accessible to a few privileged individuals.