among composers of opéra comique. His quick and sure renown was largely due to his association for forty years with the gifted librettist Eugène Scribe (d. 1861). Between them were produced about 40 works, mostly of the comedy class, of which noted instances were Le maçon (1825), Fra Diavolo (1830), Le Dieu et la Bayadère (1830), Le cheval de bronze (1835) and Les diamants de la couronne (1841). In La muette de Portici [Masaniello] (1828) he turned aside from his usual path to meet Spontini, Rossini and Meyerbeer on their own ground with a historical drama of remarkable beauty and power (so telling in its portrayal of revolutionary sentiments as to have had a share in evoking the political uprising in Belgium in 1830).
In 1829 he became an Academician. In 1842 he succeeded Cherubini as head of the Conservatoire, remaining in service almost 30 years and evincing great tact and ability, though during the last 10 years he had difficulties with Lassabathie, the government supervisor. From 1857 he was imperial choirmaster to Napoleon III. He was singularly modest and retiring, but not wanting in energy or wit. He was devoted to Paris and hardly left it for a full half-century, remaining even during the siege by the Germans in 1870.
In style his music is full of sparkle and spirit, not usually strong in passionate or ensemble effects, but skillful on the side of melody and orchestration. There is about it always a fascinating polish and elegance. He is often spoken of as the last of the masters of the old opéra comique; and was highly respected as a Nestor among opera-writers.
Louis Joseph Ferdinand Hérold (d. 1833) belongs in the same class with Boieldieu and Auber, but his achievements were more limited. Born in 1791, the son of a good pianist, he studied at the Conservatoire under Catel, Adam and Méhul, winning the Prix de Rome in 1812 and then working at Naples to good purpose, especially in orchestral writing. There he gave his first opera (1815). Returning by way of Vienna to Paris, he joined Boieldieu in an ephemeral work (1816), upon which followed his own very successful Les rosières and La clochette (both 1817). In restless eagerness he now produced several operas upon inferior librettos, with the exception of Le muletier (1823), wrote quantities of salon music for the piano, including many sonatas, served in 1820-7 as accompanist and trainer at the Théâtre Italien and from 1827 as chorusmaster at the Opéra, where he produced a series of ballets of such expressive grace that they permanently raised the artistic quality of the form. He then displayed his real ability in three fine works, Marie (1826), Zampa (1831) and Le pré aux clercs (1832), the last two setting him high among his contemporaries, almost side by side with Weber himself. Unfortunately, he then fell a victim to consumption, being but 42 years old. His last work. Ludovic, was finished by Halévy (1833) and was well received. He had all the traits of brilliant refinement that belonged to his school, with rather noticeable dramatic and orchestral gifts of his own. But circumstances checked his development and his influence.
It remains to mention Michele Carafa [di Colobrano] (d. 1872), who had a career somewhat like that of Catrufo. He was born at Naples, studied under Ruggi and Feneroli, began there as an opera-writer (1802) and then entered the French army. From 1814 he wrote nearly 10 Italian operas, mostly for
