In spite of the great worth of _Les Troyens_ and _Benvenuto Cellini_, Berlioz shone brightest in the concert hall; Wagner is primarily a man of the theater. Berlioz showed clearly in _Les Troyens_ his intention of approaching Gluck, while Wagner freely avowed his indebtedness to Weber, and particularly to the score of _Euryanthe_. He might have added that he owed something to Marschner, but he never spoke of that. The more we study the works of these two men of genius, the more we are impressed by the tremendous difference between them. Their resemblance is simply one of those imaginary things which the critics too often mistake for a reality. The critics once found local color in Rossini's _Semiramide_! Hans de Buelow once said to me in the course of a conversation, "After all Meyerbeer was a man of genius." If we fail to recognize Meyerbeer's genius, we are not only unjust but also ungrateful. In every sense, in his conception of opera, in his treatment of orchestration, in his handling of choruses, even in stage setting, he gave us new principles by which our modern works have profited to a large extent. Theophile Gautier was no musician, but he had a fine taste in music and he judged Meyerbeer as follows: "In addition to eminent musical talents, Meyerbeer had a highly developed instinct for the stage. He goes to the heart of a situation, follows closely the meanings of the words, and observes both the historical and local color of his subject.... Few composers have understood opera so well." * * * * * The success of the Italian school appeared to have utterly ruined this understanding and care for local and historical color. Rossini in the last act of _Otello_ and in _Guillaume Tell_ began its renaissance with a boldness for which he deserves credit, but it was left to Meyerbeer to restore it to its former glory. It is impossible to deny his individuality. The amalgamation of his Germanic tendencies with his Italian education and his French preferences formed an ore of new brilliancy and new depth of tone. His style resembled none other. Fetis, his great admirer and friend and the famous director of the Conservatoire at Brussels, insisted, and with reason, on this distinction. His style was characterized by the importance of the rhythmic element. His ballet music owes much of its excellence to the picturesque variety of the rhythms. Instead of the long involved overture he gave us the short distinctive prelude which has been so successful. The preludes of _Robert_ and _Les Huguenots_ were followed by the preludes of _Lohengrin_, _Faust_, _Tristan_, _Romeo_, _La Traviata_, _Aida_, and many others which are less famous. Verdi in his last two works and Richard Strauss in _Salome_ went even farther and suppressed the prelude--a none too agreeable surprise. It is like a dinner without soup.