Yet in practice Reyer seems timid. Not possessing much musical individuality, he attempted what most unoriginal men attempt, he temporized, became a composer of compromises and an eclectic. So in his music, even in his best work, Sigurd, the want of a strong, individual style is noticeable. As early as 1876 selections from Sigurd had been given in concert by Pasdeloup. The theme of the opera is almost identical with Wagner’s Götterdämmerung, the book of which was finished in 1853. Is it any wonder that Reyer speaks of his early music as coming too late after David and his later music too soon after Wagner? Berlioz produced his Erostrate at Baden-Baden, and Bizet said that La Statue was one of the most remarkable operas given in France for two decades. With all his half successes—for Sigurd is in the repertory of the Paris Opéra—Reyer cannot be considered as a strong man in any way. He has imitated Gluck and Wagner, Berlioz and Wagner. Years ago, after hearing Sigurd, I called him “le petit Berlioz,” but I now consider the phrase a pleasing exaggeration. Berlioz was a master of orchestration. Reyer is not. And he has nothing new to say. We all recognize those impotent phrases, hollow and sonorous as the wind in a tall chimney, that are plastered over his scores. Those cries “O Ciel!” “Je t’aime!” and “Horreur!” are they not idiotic in librettos and music! Here is the musical phrase _cliché_ in all its banal perfection, and the thunderous choruses _à la_ Meyerbeer which punctuate Reyer’s scenes weary the nerves, beat down our sympathies, and stun our ears. Sigurd is the one opera that betrays fancy, science, and a feeling for characterization. I have enjoyed parts of it at the Paris Opéra, but wondered why the composer had selected the subject. Brunhild lies asleep on the fiery mountain, situated in Iceland. Sigurd, Gunther, and Hagen swear friendship, and Sigurd puts on the tarn-cap, winning Hilda, as she is called, for Gunther. There is the episode of the naked sword, and later Sigurd is slain by Gunther. The ballet is very pretty, and Wagner’s influence is in evidence. Sigurd, though produced in 1884, was really composed before Götterdämmerung. Again Reyer came too late. In 1889 he finished the score of Salammbô. It was first sung at the Théâtre de la Monnaie, Brussels, February 10, 1890, with Rose Caron, Sellier, Bouvet, Vergnet, and Renaud in the cast. Two years later, May 23, 1892, Paris listened to the opera with Rose Caron, Albert Saléza, Vaquet, Delmas, and Renaud in the production. Wednesday night, March 20, 1901, in the Metropolitan Opera House, New York viewed its spectacle, for spectacle Salammbô is, spectacle and naught else. The cast is given as a matter of record: Lucienne Bréval, Salammbô; Saléza, Mathô; Salignac, High Priest; Journet, Narr’ Havas; Gilibert, Giscon; Scotti, Hamilcar; Sizes, Spendius; Dufriche, Autharite, and Carrie Bridewell, Taanach. Luigi Mancinelli conducted. The production was an elaborate and costly one.