"Orpheus" is lyrical and noticeable for the dramatic interest of the recitative, and the importance of the work given to the chorus. His duo-thematic treatment of the orchestra here is not successful. In his short orchestral prelude he breaks away from the spirit of the overture. The chorus takes up the broad sad theme. Orpheus cries, "Eurydice", twice, the third time he sings a note higher and stands against chords of diminished intervals, instead of blending with the chord of the minor third of the dominant, making a striking dramatic effect. The theme of the aria is echoed behind the scenes. In the accompanied recitative the orchestra has a share in producing the effect. In one aria when the sense of the words changes, the whole character of the music changes. Three fourth time, in the key of G, is used to depict the happiness of man. Where Cupid relates to Orpheus, an andante in three eighth time in the key of D is used. Gluck has too many contrasts of slow and fast to be effective. His overtures and finales are weak, and he could not quite effect a compromise between the musical and the dramatic. He improved the old antagonism between the aria and the recitative by giving the orchestra the function of adding some sort of color to the mere vocal padding. He insisted on acting, instead of mere singing by posturing sopranos and a chorus of wax figures. He insisted also on his music being sung as written. His bold stroke was uneven, but such a dramatic genius has never been surpassed. In "Alceste" his overture assumed a new significance. It had no formal end but was broken into by the chorus. In "Armide" each character had music personally distinctive. "Iphigenie en Tauride" combined dramatic sincerity, superb use of recitative, natural and telling though simple choruses, throbbing height of passion, unification of parts of soloists, chorus and orchestra. He is termed a "creator of dramatic music". Orchestration was his specialty although he introduced it subservient to action. However, Gluck never employed trill passages or cadenzas, for he wanted to accentuate nature and strengthen declamation. His choruses are treated as "an additional acting character", and his recitative is true to the dramatic import. Rameau's and Lulli's operas were crabbed and rigid in comparison. Gluck alone gives each personage a style that is proper. The musicians who would not, or could not sing, except from the wings, were ignored by Gluck, and he refused the undramatic demands of the manager. In "Iphigenia en Tauris" the chorus works into a background which appropriately and dramatically supports the singer. The two tendencies in Gluck are, to neglect all sensuous aesthetic pleasure for attainment of dramatic intensity through declamation, and to realize his purpose through emotional pleasure, harmony of color, greater unity of scenes, the carrying out of one dramatic idea from the beginning to the end, making each individual part stronger.