up at that period with politics and political events, and they cared
less than usual for music and the arts. Then, too, Handel, at the
height of his fame, was living in London, honored and courted by the
aristocracy and the world of fashion.

Though disappointed at his lack of success, Gluck remained in England
several years, constantly composing operas, none of which seemed to
win success. At last he took his way quietly back to Vienna. In 1754,
he was invited to Rome, where he produced several operas, among them
"Antigone"; they were all successful, showing the Italians appreciated
his work. He now proceeded to Florence, and while there became
acquainted with an Italian poet, Ranieri di Calzabigi. They were
mutually attracted to each other, and on parting had sworn to use
their influence and talents to reform Italian opera.

Gluck returned to Vienna, and continued to compose operas. In 1764,
"Orfeo" was produced,--an example of the new reform in opera! "Orfeo"
was received most favorably and sung twenty-eight times, a long run
for those days. The singing and acting of Guadagni made the opera
quite the rage, and the work began to be known in England. Even in
Paris and Parma it became a great favorite. The composer was
now fifty, and his greatest works had yet--with the exception or
"Orfeo"--to be written. He began to develop that purity of style which
we find in "Alceste," "Iphigénie en Tauride" and others. "Alceste" was
the second opera on the reformed plan which simplified the music to
give more prominence to the poetry. It was produced in Vienna in 1769,
with the text written by Calzabigi. The opera was ahead of "Orfeo" in
simplicity and nobility, but it did not seem to please the critics.
The composer himself wrote: "Pedants and critics, an infinite
multitude, form the greatest obstacle to the progress of art. They