unds to say that, since "Faust," no opera had been
produced in Paris so vital with the breath of genius and great purpose,
so full of sentiment and poetry, so symmetrical and balanced in its
differentiation of music measured by its dramatic value, so instantly
and splendidly recognized by the public, cultured and ignorant, gentle
and simple.

Like "Faust," too, the opera of Thomas was based on a creation of
Goethe. Without the pathetic episode of "Mignon," the novel of "Wilhelm
Meister" would lose much of its dramatic strength and quality. Of
course, every libretto must part with some of the charm of the story
on which it is built; but in this instance the author succeeds in
preserving nearly all the intrinsic worth of the Mignon episode. The
music is admirably suited to a noble theme. There is hardly a weak
bar in it from beginning to end; and some of the work here done by the
composer will compare favorably with any operatic music ever hoard. In
this opera melodic phrase goes hand in hand with character and motive,
and _Mignon, Philina, Wilhelm Meister, and Lothario_, are distinguished
in the music with the finest dramatic discrimination.

Among the operas of recent years, "Mignon" ranks among the first for
its taste, grace, and poetry. The first act is vigorous, bright, and
picturesque; the second, touched with the finest points of passion and
humor; the third is inspired with a pathos and poetic ardor which lift
the composer to do his most magnificent work. But to describe "Mignon"
to the public of today, which has heard it almost an innumerable number
of times, is, as much as in the case of Gounod's "Faust," "carrying
coals to Newcastle."

In 1868 Thomas produced "Hamlet," and it was represented at the Grand
Opera, with Mile. Christine Nilsson in the role of _Ophelia_, the
same singer having, if we mistake not, created the role of _Mignon_.
"Hamlet," though a marked artistic success, has failed to make the
same popular impression as "Mignon," possibly because the theme is less
suited to operatic treatment; for the music _per se_ is of a fine type,
and full of the genuine accents of passion.

In addition to the works named above, Ambroise Thomas has written "La
Gypsy," "Le Panier Fleuri," "Carline," "Le Roman d'Elvire," several
fine masses, many beautiful songs, a requiem, and miscellaneous
church-pieces. Thomas is famous in France for the generous encouragement
and help which he extends to all young musicians,