This was the reason that Doret gave the part of Orpheus to a contralto, just as is done at the Opera-Comique. The poetic character of the part of Orpheus lends itself excellently to such a feminine interpretation. But in resuming the key of the Italian score, it is necessary to go back, at least to a considerable degree, to the instrumentation. By a curious anomaly the beautiful recitative, accompanied by the murmur of brooks and the songs of the birds, is in C major in both scores. The author could not have changed them. On the contrary he modified his instrumentation greatly, simplified and perfected it. We know that the authors, in utter defiance of mythology, wanted a happy ending and so brought Eurydice back to life a second time. Love accomplished this miracle and the work ended with the song "Love Triumphs," which is exceedingly joyful and in harmony with the situation. They did not want this ending, which was in _Orfeo_ and which Gluck retained in _Orphee_, at the old Theatre-Lyrique and the Opera-Comique, and they replaced it with a chorus by Echo and Narcissus. This chorus is charming, but that does not excuse it. Joy was what the author wanted and this does not give joy at all. Gluck's finale is regarded as not sufficiently distinguished, but this is wrong. The real finale was sung at Mezieres and it was found that it was not at all common, but that its frank gaiety was in the best of taste. Gluck had no scruples about grinding several grists from the same sack and drawing from his old works to help out his new ones. So the parasitical aria attributed to Bertoni was written by Gluck in the first place in 1764 for a soprano. He wove this into his opera _Aristo_ in 1769. This is also true of the trio, _Tendre Amour_, which precedes the finale in the last act. A serious-minded analyst might be tempted to admire the profound psychology of the author in mingling doleful accents with expressions of joy, but he would have his labor for his pains. The trio was taken from the opera _Elena e Paride_, where Gluck expressed strongly wrought up emotions. Doret did not keep these two passages and one can't blame him. On the other hand, he retained, by making it an entr'acte, the _Ballet des Furies_. This was taken from a ballet, _Don Giovanni o il convitato de pietra_, which was performed at Vienna in 1761. This passage was used as the accompaniment to Don Juan's descent into Hell, surrounded by his band of demons. Many of Gluck's compatriots came to Mezieres to see _Orphee_ and they were loyal enough to recognize the superiority of the performance. Some even had the courage to say, "We murder Gluck in Germany."