op that purity of style which
we find in "Alceste," "Iphigenie en Tauride" and others. "Alceste" was
the second opera on the reformed plan which simplified the music to
give more prominence to the poetry. It was produced in Vienna in 1769,
with the text written by Calzabigi. The opera was ahead of "Orfeo" in
simplicity and nobility, but it did not seem to please the critics.
The composer himself wrote: "Pedants and critics, an infinite
multitude, form the greatest obstacle to the progress of art. They
think themselves entitled to pass a verdict on 'Alceste' from some
informal rehearsals, badly conducted and executed. Some fastidious
ear found a vocal passage too harsh, or another too impassioned,
forgetting that forcible expression and striking contrasts are
absolutely necessary. It was likewise decided in full conclave, that
this style of music was barbarous and extravagant."

In spite of the judgment of the critics, "Alceste" increased the
fame of Gluck to a great degree. Paris wanted to see the man who had
revolutionized Italian opera. The French Royale Academie had made him
an offer to visit the capital, for which he was to write a new opera
for a debut. A French poet, Du Rollet, living in Vienna, offered to
write a libretto for the new opera, and assured him there was every
chance for success in a visit to France. The libretto was thereupon
written, or rather arranged from Racine's "Iphigenie en Aulide," and
with this, Chevalier Gluck, lately made Knight of the papal order of
the Golden Spur, set out for Paris.

And now began a long season of hard work. The opera "Iphigenie"
took about a year to compose, besides a careful study of the French
language. He had even more trouble with the slovenly, ignorant
orchestra, than he had with the French language. The orchestra
declared itself against foreign music; but this opposition was
softened down by his former pupil and patroness, the charming Marie
Antoinette, Queen of France.

After many trials and delays, "Iphigenie" was produced August 19,
1774. The opera proved an enormous success. The beautiful Queen
herself gave the signal for applause in which the whole house joined.
The charming Sophie Arnould sang the part of Iphigenie and seemed
to quite satisfy the composer. Larrivee was the Agamemnon, and other
parts were well sung. The French were thoroughly delighted. They
feted and praised Gluck, declaring he had discovered the music of the
ancient Greeks, that he was