Richelieu, and of the various bright assemblies where the wit, rank, and
beauty of Paris gathered in the days just prior to the Revolution. The
poet Marmontel became his intimate friend, and gave him the opera story
of "Demophon" to set to music. It was at this period that Cherubini
became acquainted with the works of Haydn, and learned from him how to
unite depth with lightness, grace with power, jest with earnestness, and
toying with dignity.

A short visit to Italy for the carnival of 1788 resulted in the
production of the opera of "Ifigenia in Aulide" at La Scala, Milan.
The success was great, and this work, the last written for his native
country, was given also at Florence and Parma with no less delight and
approbation on the part of the public. Had Cherubini died at this time,
he would have left nothing but an obscure name for Fétis's immense
dictionary. Unlike Mozart and Schubert, who at the same age had reached
their highest development, this robust and massive genius ripened
slowly. With him as with Gluck, with whom he had so many affinities,
a short life would have been fatal to renown. His last opera showed a
turning point in his development. Halévy, his great disciple, speaks of
this period as follows: "He is already more nervous; there peeps out
I know not exactly how much of force and virility of which the Italian
musicians of his day did not know or did not seek the secret. It is the
dawn of a new day. Cherubini was preparing himself for the combat. Gluck
had accustomed France to the sublime energy of his masterpieces. Mozart
had just written 'Le Nozze di Figaro' and 'Don Giovanni.' He must not
lag behind. He must not be conquered. In that career which he was about
to dare to enter, he met two giants. Like the athlete who descends into
the arena, he anointed his limbs and girded his loins for the fight."