Nevertheless, the hall is excellent, although it is no longer adequate for the presentation of modern compositions. But it is a marvellous place for the numerous concerts given by virtuosi, both singers and instrumentalists, accompanied by an orchestra, and for chamber music. Finally, the hall where France was introduced to the masterpieces of Haydn, Mozart and Beethoven, whose influence has been so profound, is a historic place. Numerous improvements in the administration of the Conservatoire have been introduced during the last few years. On the other hand, old and honored customs have disappeared and we can but regret their loss. From Auber's time on there was a _pension_ connected with the Conservatoire. Here the young singers who came from the provinces at eighteen found board and lodging, a regular life, and a protection from the temptations of a large city, so dangerous to fresh young voices. Bouhy, Lassalle, Capoul, Gailhard and many others who have made the French stage famous came from this _pension_. We also used to have dramatic recitals which were excellent both for the performers and the audiences as they gave works which were not in the usual repertoire. In these recitals they gave Mehul's _Joseph_, which had disappeared from the stage for a long time. The beautiful choruses sung by the fresh voices of the pupils made such a success and the whole work was so enthusiastically applauded that it was revived at the Opera-Comique and won back a success which it has never lost. We also heard there Gluck's _Orphee_ long before that masterpiece was revived at the Theatre-Lyrique. Then there was Mehul's _Irato_, a curious and charming work which the Opera took up afterwards. And there, too, they gave the last act of Rossini's _Otello_. The tempest in that act gave me the idea of the one which rumbles through the second act of _Samson_. When the hall was reconstructed, the stage was destroyed so that such performances are impossible. But to make up for this, they installed a concert organ, a necessary adjunct for musical performances. Finally, in Auber's day and even in that of Ambroise Thomas, the director was master. No one had dreamed of creating a committee, which, under cover of the director's responsibility, would strangely diminish his authority. The only benefit from the new system has been the end of the incessant war which the musical critics waged on the director. But that did no harm, either to the director or to the school, for the latter kept on growing to such an extent that it ought to have been enlarged long ago. The committee plan has won and the incident is closed. One may only hope that steps will be taken to make possible an increase in the number of pupils since so many candidates apply each year and so few are chosen.