[Footnote 87: Ex. 80, 81.] No opera has won greater universal popularity than that which has immortalized the name of its author, BIZET (1838-1875). What is more, this unreserved approval is merited and will endure. An elaborate discussion of his style would be futile; every professional, every amateur is thoroughly familiar with it. The prevalent custom of French composers to build upon French traditions, but to allow German truthfulness of expression and interpretation to dominate their works was consistently followed by Bizet. The complaint has been made that the traditional disconnected forms of "Carmen" hamper the dramatic action of an otherwise perfect creation. Continuity of music might, perhaps, enhance its already unexcelled effectiveness, but such questionable criticisms are indeed paltry in the face of such melodic and harmonic originality, such dramatic intensity, such orchestral color! Bizet's skill in discovering novel traits of instrumentation was little short of marvellous. The orchestra prepares, accompanies, and moralizes upon the action. There is a wealth of rhythm and color; absolutely truthful characterization and the finest of feeling for artistic details are revealed on every page. It is to be regretted that "L'Arlésienne" has not been considered worthy of more frequent performance. Though its libretto cannot be compared with that of "Carmen," Bizet's setting of "L'Arlésienne" is in some respects more artistic than that of his masterpiece. Its orchestration is practically inseparable from the drama itself, whereas a considerable portion of "Carmen" can be given on the concert stage with good effect. Parenthetically it might be added that the former work contains in its prelude a highly ingenious solo for the rarely heard saxophone.