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produced over 40 operas of moderate value, but Paul et Virginie and Lodoïska (both 1791) were popular for a time.

Luc Loiseau de Persuis (d. 1819), finely educated as a violinist, came to Paris in 1787 to produce an oratorio. His gifts as a player secured him good positions, including (from 1810) leadership at the Opéra. He was ambitious and energetic, and, with the aid of his friend Le Sueur, secured a hearing for about 20 operas (from 1791) and ballets, but was chiefly important as manager and conductor.

Nicolò Isouard (d. 1818) was more able. Born at Malta, but trained at Paris for a naval and business life, while acting as a clerk at Palermo and Naples he assiduously studied music, so that at 20 (1795) he began opera-production at Bologna, and later was organist and choirmaster at Malta, diligently exercising himself in composition. From 1799 he was in Paris, a favorite society pianist, in close touch with Kreutzer and with able librettists, and writing about 50 operas, of which the best-received were Cendrillon (1810), Joconde (1814) and Jeannot et Colin (1814). He belongs to the same refined and delightfully clear class as Boieldieu, but was less original and careful. The latter's success embittered him, occasioning the dissipation that cut short his life.

Charles Simon Catel (d. 1830) studied under Gossec and Sacchini at the École royale and early entered its teaching force. From 1790, besides accompanying at the Opéra, he was one of the leaders of the National Guard music, for which he wrote extensively. From 1795 he was prominent at the Conservatoire. He wrote 11 operas (from 1802) in a highly elegant style, but they were not popular, owing to their supposed learning. Examples are Sémiramis (1802), Les Bayadères (1810) and Wallace (1817). He was useful in systemizing music-study, and wrote an excellent text-book on harmony (1802).

Giuseppe Blangini (d. 1841), a choirboy at Turin and a pupil of Ottani, early noted as a tenor and 'cellist, in 1799 came to Paris, where he became the rage as a singing-teacher. From 1806 he held positions under members of the Napoleon family, continuing under Louis XVIII., but being thrown out in 1830. Of his 30 operas (from 1803), many did not come to representation. Yet he was a graceful writer, excelling in romances and vocal notturni.

Giuseppe Catrufo (d. 1851), born at Naples and trained by Sala and Tritto, brought out his first operas at Malta (1792) and in northern Italy, in 1804 settled at Geneva and began a series of about 15 French operettas, from 1813 at Paris. The most notable of these was Félicie (1815). From 1835 he worked in London.

Daniel François Esprit Auber (d. 1871) was the successor of Boieldieu, and in fertility and piquant brilliancy his superior. He was born in 1782 at Caen, the son of an art-dealer who vainly desired him to enter business. At Paris and London he early had musical advantages and began writing songs and pieces for the 'cello and the violin. His first opera (1811) was drafted for a private circle of amateurs. Cherubini, hearing it, offered to guide his further study. As fruits of this came a mass and two more operas (1812-3), the second of which was publicly given. Neither this nor the next (1819) won much notice, but La bergère châtelaine (1820) gave him a foremost place