all over
Italy; indeed his fame had spread to other countries, with the
result that tempting offers for new operas flowed in to him from all
directions. Especially was a London manager, a certain Lord Middlesex,
anxious to entice the young composer from Italy to come over to
London, and produce some of his works at the King's Theater in the
Haymarket.

The noble manager made a good offer too, and Gluck felt he ought to
accept. He reached London in 1745, but owing to the rebellion which
had broken out in Scotland all the theaters were closed, and the city
in more or less confusion. However a chance to hear the famous German
composer, who had traveled such a distance, was not to be lost, and
Lord Middlesex besought the Powers to re-open the theater. After much
pleading his request was finally granted. The opening opera, written
on purpose to introduce Gluck to English audiences, was entitled "La
Caduta del Giganti,"--"Fall of the Giants"--and did not seem to please
the public. But the young composer was undaunted. His next opera,
"Artamene," pleased them no better. The mind of the people was taken
up at that period with politics and political events, and they cared
less than usual for music and the arts. Then, too, Handel, at the
height of his fame, was living in London, honored and courted by the
aristocracy and the world of fashion.

Though disappointed at his lack of success, Gluck remained in England
several years, constantly composing operas, none of which seemed to
win success. At last he took his way quietly back to Vienna. In 1754,
he was invited to Rome, where he produced several operas, among them
"Antigone"; they were all successful, showing the Italians appreciated
his work. He now proceeded to Florence, and while there became
acquainted with an Italian poet, Ranieri di Calzabigi. They were
mutually attracted to each other, and on parting had sworn to use
their influence and talents to reform Italian opera.

Gluck returned to Vienna, and continued to compose operas. In 1764,
"Orfeo" was produced,--an example of the new reform in opera! "Orfeo"
was received most favorably and sung twenty-eight times, a long run
for those days. The singing and acting of Guadagni made the opera
quite the rage, and the work began to be known in England. Even in
Paris and Parma it became a great favorite. The composer was
now fifty, and his greatest works had yet--with the exception or
"Orfeo"--to be written. He began to devel