' is hardly more than a string of incidents, with only the most
shadowy semblance of connection, but several of the scenes are effective
enough on the stage, notably that in Faust's study with the march of
Hungarian warriors in the distance, the exquisite dance of sylphs and
the ride to the abyss. Nevertheless, when the success of curiosity is
over, the work is hardly likely to retain its place in the repertory.

Unperformed as he was, Berlioz of course could not be expected to found
a school; but Meyerbeer's success soon raised him up a host of
imitators. Halevy (1799-1862) drew his inspiration in part from Herold
and Weber; but 'La Juive,' the work by which he is best known, owes much
to Meyerbeer, whose 'Robert le Diable' had taken the world of music in
Paris by storm a few years before the production of Halevy's work. In
turn Halevy reacted upon Meyerbeer. Many passages in 'Les Huguenots'
reflect the sober dignity of 'La Juive'; indeed, it is too often
forgotten that the production of Halevy's opera preceded its more famous
contemporary by a full year.

The scene of 'La Juive' is laid in Constance, in the fifteenth century.
Leopold, a Prince of the Empire, in the disguise of a young Israelite,
has won the heart of Rachel, the daughter of the rich Jew Eleazar. When
the latter discovers the true nationality of his prospective son-in-law
he forbids him his house, but Rachel consents, like another Jessica, to
fly with her lover. Later she discovers that Leopold is a Prince, and
betrothed to the Princess Eudoxia. Her jealousy breaks forth, and she
accuses him of having seduced her--a crime which in those days was
punishable by death. Rachel, Leopold, and Eleazar are all thrown into
prison. There Rachel relents, and retracts her accusation. Leopold is
accordingly released, but the Jew and his daughter are condemned to be
immersed in a cauldron of boiling oil. There is a rather meaningless
underplot which results in a confession made by Eleazar on the scaffold,
that Rachel is not a Jewess at all, but the daughter of a Cardinal who
has taken a friendly interest in her fortunes throughout the drama.

Halevy's music is characterised by dignity and sobriety, but it rarely
rises to passion. He represents to a certain extent a reaction towards
the pre-Rossinian school of opera, but, to be frank, most of 'La Juive'
is exceedingly long-winded and dull. Besides his serious operas, Halevy
wrote works of a lighter cast, which enjoye