We will again leave Gluck elevating, for this time, the French stage also, and glance at _opera comique_, a term used in France as early as 1712. I suppose that the equivalent of the Italian _intermezzo_ was the _vaudeville_. Claude Gilliers appears to have written many about this period. In the latter half of the century Dauvergne composed “Les Troqueurs,” in imitation of the Italian _intermezzi_, and in this work the dialogue, which in _opera buffa_ would have been sung, was spoken, a custom still adopted in France. Duni, Philidor (a wonderful chess-player), and Monsigny wrote many _operas comiques_. Gretry also appeared at this time as one of the superior composers—also Gaveaux, Gossec, and J. J. Rousseau, followed by D’Allayrac. To return to grand opera, the man most influenced by Gluck and his advances was Mehul, whose “Joseph” and “Le Jeune Henri” are well known, and who possessed undoubted talent. In the present century I may mention Catel, Isouard, Berton, and Boildieu, the latter’s “Calife de Bagdad” and “La Dame Blanche,” and other works having been received at the time with enormous enthusiasm. Two composers, Italian by birth, Cherubini and Spontini, wrote much in the style and under the influence of the French opera. We all know and like Cherubini’s “Les Deux Journées,” “Medea,” and “Anacreon.” Spontini is spoken of as “the composer who embodied in his operas the life and spirit of the Empire under the First Napoleon.” Coming into this century, we notice, as important French opera composers, Hérold, of “Zampa” celebrity, Adolphe Adam, and Auber, who studied under Cherubini, and composed more comic operas than anything else, and whose work always contains light elegant melody and brilliant orchestration. Halévy has earned a good name by such operas as “La Juive” and “La Reine de Chypre.” An exceptionally great man was Hector Berlioz, who strove in new paths, and in the face of great opposition, to base his efforts upon the study of Gluck, Weber, and Beethoven. Meyerbeer, though born in Germany, wrote as much for French opera as for any other. He seems to have been a sort of musical turncoat, and every turn brought golden success. He became the greatest of French opera writers; but, in addition, he wrote German opera for Germans, Italian for Italians, and ensured by this system of “all things to all men” the applause which he so highly coveted. To conclude our French list, there is a composer, whose “Faust” will live long; I allude to Charles Gounod, who has written many other operas containing great dramatic beauty, richness of orchestration, and grace of melody. Following him are Bizet, whose “Carmen” has been so popular, Massenet, and Ambroise Thomas. In England there is but little history to give you. English music and drama were first connected in a primitive way in the early miracle-plays and mysteries performed at Chester and Coventry and in other towns.