"Robert le Diable" and "Les Huguenots" produced frenzies of enthusiasm: no Romantic, consequently no Bohemian of Gautier's day, could afford not to have listened to them. Rossini's great vogue began at the same time, while Donizetti and Auber shared the honours of light opera till Offenbach appeared to carry all before him. Musical Bohemia was well educated, if not in composition, at least in execution, when it was possible to hear Duprez, Rubini, Lablache, Tamburini, Grisi, Mario, Persiani, and Pauline Viardot-Garcia. The ballet, too, with Carlotta Grisi, Taglioni, and Fanny Elssler, was an additional attraction at the Opéra. The devotion of _la Bohème galante_ to the _corps de ballet_ has appeared in an earlier chapter, and it was a devotion shared by most masculine society. Murger's Bohemia flourished after the greatest operatic enthusiasms, which its more classically inclined members probably despised; but their exchequers were not of the sort to allow for tickets at the grand opera, though they turned up in force at the light operas of the Théâtre Bobino. At this little theatre, more properly called the Théâtre du Luxembourg, there was a continuous uproar made by Bohemians and students. When this grew too unbearable the manager would appear in his dressing-gown and protest that the police would arrive if the respectable inhabitants of the quarter were disturbed; whereupon the whole audience struck up as one man Grétry's air "Où peut-on être mieux qu'au sein de la famille?" accompanied by the wheezy orchestra and conducted by the manager himself. At such a scene Schaunard and Marcel must often have assisted.