_The Maid of Orleans_ won little more than a _succès d'estime_. There is much that is effective in this opera, but at the same time it displays those weaknesses which are most characteristic of Tchaikovsky's unsettled convictions in the matter of style. The transition from an opera so Russian in colouring and so lyrical in sentiment as _Eugene Oniegin_ to one so universal and heroic in character as _The Maid of Orleans_, seems to have presented difficulties. Just as the national significance of _The Oprichnik_ suffered from moments of purely Italian influence, so _The Maid of Orleans_ contains incongruous lapses into the Russian style. What have the minstrels at the court of Charles VI. in common with a folk-song of Malo-Russian origin? Or why is the song of Agnes Sorel so reminiscent of the land of the steppes and birch forests? The gem of the opera is undoubtedly Joan's farewell to the scenes of her childhood, which is full of touching, idyllic sentiment. In complete contrast to the fervid enthusiasm which carried him through the creation of _The Maid of Orleans_ was the spirit in which Tchaikovsky started upon his next opera. One of his earliest references to _Mazeppa_ occurs in a letter to Nadejda von Meck, written in the spring of 1882. "A year ago," he says, "Davidov (the 'cellist) sent me the libretto of _Mazeppa_, adapted by Bourenin from Poushkin's poem 'Poltava.' I tried to set one or two scenes to music, but made no progress. Then one fine day I read the libretto again and also Poushkin's poem. I was stirred by some of the verses, and began to compose the scene between Maria and Mazeppa. Although I have not experienced the profound creative joy I felt while working at _Eugene Oniegin_, I go on with the opera because I have made a start and in its way it is a success." Not one of Tchaikovsky's operas was born to a more splendid destiny. In August, 1883, a special meeting was held by the directors of the Grand Opera in St. Petersburg to discuss the simultaneous production of the opera in both capitals. Tchaikovsky was invited to be present, and was so astonished at the lavishness of the proposed expenditure that he felt convinced the Emperor himself had expressed a wish that no expense should be spared in mounting _Mazeppa_. It is certain the royal family took a great interest in this opera, which deals with so stirring a page in Russian history.