and produced December 15,
1807. Previous to this some parts of it had been performed privately
at the Tuileries, and the Emperor had said: "M. Spontini, your opera
abounds in fine airs and effective duets. The march to the place of
execution is admirable. You will certainly have the great success you
so well deserve." The imperial prediction was justified by consecutive
performances of one hundred nights. His next work, "Fernand Cortez,"
sustained the impression of genius earned for him by its predecessor.
The scene of the revolt is pronounced by competent critics to be one of
the finest dramatic conceptions in operatic music.

In 1809 Spontini married the niece of Erard, the great pianoforte-maker,
and was called to the direction of the Italian opera; but he retained
this position only two years, from the disagreeable conditions he had to
contend with, and the cabals that were formed against him. The year 1814
witnessed the production of "Pelage," and two years later "Les Dieux
Rivaux" was composed, in conjunction with Persuis, Berton, and Kreutzer;
but neither work attracted much attention. The opera of "Olympic,"
worked out on the plan of "La Vestale" and "Cortez," was produced in
1819. Spontini was embittered by its poor success, for he had built many
hopes on it, and wrought long and patiently. That he was not in his best
vein, and like many other men of genius was not always able to estimate
justly his own work, is undeniable; for Spontini, contrary to the
opinion of his contemporaries and of posterity, regarded this as his
best opera. His acceptance of the Prussian King's offer to become
musical director at Berlin was the result of his chagrin. Here he
remained for twenty years. "Olympic" succeeded better at Berlin, though
the boisterousness of the music seems to have called out some sharp
strictures even among the Berlinese, whose penchant for noisy operatic
effects was then as now a butt for the satire of the musical wits.
Apropos of the long run of "Olympic" at Berlin, an amusing anecdote
is told on the authority of Castel-Blaze. A wealthy amateur had become
deaf, and suffered much from his deprivation of the enjoyment of his
favorite art. After trying many physicians, he was treated in a novel
fashion by his latest doctor. "Come with me to the opera this evening,"
wrote down the doctor. "What's the use? I can't hear a note," was the
impatient rejoinder. "Never mind," said the other; "come, and you will
see s