Meanwhile, Louis XVI. and his family had fled from Paris on the 28th of June, 1791. The next day, and before the king was brought back to the Tuileries, the title of the chief lyric theatre was changed from Académie Royale to simply the Opera. At the same time, the custom was introduced of announcing the performers' names, which was evidently an advantage to the public, and which was also not without its benefit for the inferior singers and dancers, who, when they unexpectedly appeared in order to replace their betters, used often to get hissed to a handsomer degree than they ever could in their usual parts. By an order of the Committee of Public Safety, dated the 16th of the following September, the title of the Opera was again changed to Académie Royale de Musique. This was intended as a compliment to the king, who had signed the Constitution on the 14th, and who was to go to the Opera six days afterwards. On the 20th the royal visit took place. "'Castor and Pollux' was played," says M. Castil Blaze, "and not 'Iphigénie en Aulide,' as is asserted by some ill-informed historians, who even go so far as to pretend that the chorus '_Chantons, célébrons notre reine_' was hailed with transports of enthusiasm, and that the public called for it a second time." The house was well filled, but not crammed, as we see by the receipts, which amounted to 6,636 livres 15 sous. The same opera of Rameau's, vamped by Candeille, had produced 6,857 livres on the 14th of the preceding June. On the night previous to the royal representation a gratuitous performance of "Castor and Pollux" had been given to the public in honour of the Constitution. The royalists were present in great numbers on the night of state, and some lines which could be applied to the queen were loudly applauded. Marie Antoinette was delighted, and said to the ladies who accompanied her, "You see that the people are really good, and wish only to love us." Encouraged by so flattering a reception, she determined to go the next night to the Opéra Comique, but the king refused to accompany her. The piece performed was "Les Événements imprévus." In the duet of the second act, before singing the words "_Ah! comme j'aime ma maîtresse_," Mdme. Dugazon looked towards the queen, when a number of voices cried out from the pit, "_Plus de Maîtresse!_" "_Plus de Maître!_" "_Vive la Liberté!_" This cry was answered from the boxes with "Vive la reine! Vive le roi!" Sabres and swordsticks were drawn, and a battle began. The queen escaped from the theatre in the midst of the tumult. Cries of "_A bas la reine!_" followed her to her carriage, which went off at a gallop, with mud and stones thrown after it. Marie Antoinette returned to the Tuileries in despair. On the 1st of October, fourteen days afterwards, the title of Opéra National was substituted for that of Académie Royale de Musique. The Constitution being signed, there was no longer any reason for being civil to Louis XVI.