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 examples are Stratonice (1792), Mélidore et Phrosine (1795), Adrien (1799), Uthal (1806), Joseph (1807) and La journée aux aventures (1816). He had an exquisite tastefulness, a quick and versatile imagination, and a keen appreciation of whatever gives local color. Some of his large effects were broad and grand, his recitatives were often nobly expressive, some of his arias excel in tragic or passionate quality, and he handled the chorus and the orchestra with originality and force. Some of his overtures surpassed those of all preceding writers, and he introduced many unheard-of instrumental effects. But he could not compete with Cherubini in technical learning or usually in capacity for sustained effort. Outside of his operas, he left nothing of special importance. But in opera he pointed the way for the best writers of the next period.

Passing mention may be made of Louis Emmanuel Jadin (d. 1853), with about 40 dramas (from 1788) and much instrumental music; Jean Pierre Solié (d. 1812), a remarkable baritone, with about 30 operettas (from 1790), such as Le secret (1796) and Le chapitre second (1799); and Pierre Gaveaux (d. 1825), also with about 30 (1792-1811), such as Le petit matelot (1796) and Léonore (1798)—the latter on the same story as Beethoven's Fidelio.

Jean François Le Sueur (d. 1837), born in 1760, was first a choirboy at Amiens. Till his thirtieth year he was busy with church music at Séez, Dijon, Mans, Tours and Paris (from 1786 at Notre Dame), with finally the avowed intention of introducing freely into it dramatic and picturesque effects, both vocal and orchestral. In 1789 he retired for general composition and in 1793 produced his first opera with great applause. He was inspector at the Conservatoire in 1795-1802, being finally thrown out by a quarrel, and from 1804 became private choirmaster to Napoleon, continuing under the later régime till 1830. He was one of the Opéra judges in 1806-24, and from 1817 professor at the Conservatoire, besides receiving other honors. Among his about 10 operas, the most noted were La caverne (1793) and Les bardes (1804), and he also wrote a number of oratorios and much church music. As an opera-writer, he had no such imagination as Méhul or such technical equipment as Cherubini and, in spite of his date, belonged to the 18th century, though he sought eagerly for novelty. His lectures were popular and he had many distinguished pupils, among them Berlioz, whom he foreshadowed. His innovating ideas were much combatted, and he wrote often in their defense (from 1787).