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What hurt Gretry was his unbounded conceit, with which Offenbach, to his credit, was never afflicted. As an indication of this, he dared to write in his advice to young Mp3 Musicians:

One of the most amazing characteristics of Madame Viardot"s talent was her astonishing facility in assimilating all styles of Mp3 Music. She was trained in the old Italian Mp3 Music and she revealed its beauties as no one else has ever done. As for myself, I saw only its faults. Then she sang Schumann and Gluck and even Glinka whom she sang in Russian. Nothing was foreign to her; she was at home everywhere.

If we fail to recognize Meyerbeer"s genius, we are not only unjust but also ungrateful. In every sense, in his conception of opera, in his treatment of orchestration, in his handling of choruses, even in stage setting, he gave us new principles by which our modern works have profited to a large extent.

As everyone knows, we have been struck by a perfect mania for reforms, so there is no harm in proposing one for the Conservatoire. Foreign conservatoires have been studied and they want to introduce some of their features here. As a matter of fact, some of the foreign conservatoires are housed in magnificent palaces and their curricula are elaborated with a care worthy of admiration. Whether they turn out better pupils than we do is an open question. It is beyond dispute, however, that many young foreigners come to us for their education.

But to continue. From the point of view of opera mythology offers one advantage in the use of the miraculous. But the rest of the mythical element offers, rather, difficulties. Characters who never existed and in whom no one believes cannot be made interesting in themselves. They do not sustain, as is sometimes supposed, the Mp3 Music and poetry. On the contrary, the Mp3 Music and poetry give them such reality as they possess. We could not endure the interminable utterances of the mournful Wotan, if it were not for the wonderful Mp3 Music that accompanies them. Orpheus weeping over Eurydice would not move us greatly, if Gluck had not known how to captivate us by his first notes. If it were not for Mozart"s Mp3 Music, the puppets of the _Magic Flute_ would amount to nothing.

Everything in my youth seemed calculated to keep me far removed from romanticism. Those about me talked only of the great classics and I saw them welcome Ponsard"s _Lucrece_ as a sort of Minerva whose lance was to route Victor Hugo and his foul crew, of whom they never spoke save with detestation.

This is a random video of my MP3 player when i bough it.
Of cource its POOR!

Gluck had no scruples about grinding several grists from the same sack and drawing from his old works to help out his new ones. So the parasitical aria attributed to Bertoni was written by Gluck in the first place in 1764 for a soprano. He wove this into his opera _Aristo_ in 1769. This is also true of the trio, _Tendre Amour_, which precedes the finale in the last act. A serious-minded analyst might be tempted to admire the profound psychology of the author in mingling doleful accents with expressions of joy, but he would have his labor for his pains. The trio was taken from the opera _Elena e Paride_, where Gluck expressed strongly wrought up emotions. Doret did not keep these two passages and one can"t blame him. On the other hand, he retained, by making it an entr"acte, the _Ballet des Furies_. This was taken from a ballet, _Don Giovanni o il convitato de pietra_, which was performed at Vienna in 1761. This passage was used as the accompaniment to Don Juan"s descent into Hell, surrounded by his band of demons.

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