n in 'Robert le Diable' nuns appear one
after the other and endeavor to seduce the hero, till at length the lady
abbess succeeds; when the hero, aided by a magic branch, gains access
to the sleeping apartment of his lady, and throws her down, forming
a tableau which is applauded here, and will perhaps be applauded in
Germany; and when, after that, she implores for mercy in an aria; when,
in another opera, a girl undresses herself, singing all the while that
she will be married to-morrow, it may be effective, but I find no
music in it. For it is vulgar, and if such is the taste of the day, and
therefore necessary, I prefer writing sacred music."

II.

"Robert le Diable" was produced at the Academie Royale in 1831, and
inaugurated the brilliant reign of Dr. Veron as manager. The bold
innovations, the powerful situations, the daring methods of the
composer, astonished and delighted Paris, and the work was performed
more than a hundred consecutive times. The history of "Robert le Diable"
is in some respects curious. It was originally written for the Vontadour
Theatre, devoted to comic opera; but the company were found unable
to sing the difficult music. Meyerbeer was inspired by Weber's "Der
Freischtitz" to attempt a romantic, semi-fantastic legendary opera, and
trod very closely in the footsteps of his model. It was determined to so
alter the libretto and extend and elaborate the music as to fit it for
the stage of the Grand Opera. MM. Scribe and Delavigne, the librettists,
and Meyerbeer, devoted busy days and nights to hurrying on the work. The
whole opera was remodeled, recitative substituted for dialogue, and one
of the most important characters,--Rainibaud, cut out in the fourth and
fifth acts--a suppression which is claimed to have befogged a very clear
and intelligible plot. Highly suggestive in its present state of Weber's
opera, the opera of "Robert le Diable" is said to have been marvelously
similar to "Der Freischtitz" in the original form, though inferior in
dignity of motive.

Paris was all agog with interest at the first production. The critics
had attended the rehearsals, and it was understood that the libretto,
the music, and the ballet were full of striking interest. Nourrit
played the part of _Robert_; Levasseur, _Bertram_; Mme. Cinti Damoreau,
_Isabelle_; and Mile. Dorus, _Alice_. The greatest dancers of the
age were in the ballet and the brilliant Taglioni led the band of
resuscitated nuns. Ilabenec