There is, however, no piece represented at this theatre that a stranger ought not to see, either on account of the music, or of the spectacle and its decorations. The operas, or lyric tragedies, which, from the number of times they have been performed, appear to have obtained the greatest success, are those of GLUCK. The originality, the energy, the force and truth of declamation of this great musician were likely to render him successful, especially among the French, who applauded the two last-mentioned qualities on their other national theatre. With the exception of one only, all the works of GLUCK have remained as stock-pieces, and are played from time to time. They are five in number; namely, _Iphigénie en Aulide_, _Iphigénie en Tauride_, _Orphée et Euridice_, _Armide_, and _Alceste_. That which could not maintain its ground, and consequently fell, was _Narcisse_. The flimsiness of the poem was the cause; for the music, I am assured, is the finest that GLUCK ever composed, and several pieces of it have been repeatedly performed in the Parisian concerts. The _Didon_ of PICCINI and the _OEdipe à Colonne_ of SACCHINI have had no less success than the operas of GLUCK. They are very frequently represented. It may not, perhaps, be unseasonable to remind you that, from twenty to twenty-five years ago, when the old operas of LULLI and RAMEAU were laid aside, and replaced by modern works, two parties were formed, which, from the name of the musician that each adopted, were called, the one, _Gluckists_; and the other, _Piccinists_. Their inveteracy was great, somewhat like that which, forty years before, existed between the _Molinists_ and _Jansenists_: and few persons, if any, I believe, remained neuter. Victory seems to have crowned the former party. Indeed the music of GLUCK possesses a melody which is wonderfully energetic and striking. PICCINI is skilful and brilliant in his harmony, as well as sweet and varied in his composition; but this style of beauty has been thought to be deficient in expression. Truth obliges me to say, that, of PICCINI'S works, no opera is now played but his _Didon_, and that his other productions, which, to the best of my recollection, are _Alys_, an opera called _Iphigénie en Tauride_, and _Pénélope_, have fallen. This was ascribed to the mediocrity of the language; a part of an opera somewhat essential, though no great attention seems to be bestowed on it. But if people here are not very difficult as to the style of the language, they require at least an action well conducted and interesting. When the piece is of itself cold, it is not in the power of the finest music to give it warmth. The _OEdipe à Colonne_ of SACCHINI is reckoned by many persons the _chef-d'oeuvre_ of operas. That able musician has there excelled in all that is graceful, noble, and pathetic; but it exhibits not the tragic fire that is to be found in the works of GLUCK. SACCHINI has left behind him another composition, called