awarded him the grand prize for the composition of a cantata; and he
also received a government pension which enabled him to dwell at Rome
for two years, assiduously cultivating his talents in composition.
Halévy returned to Paris, but it was not till 1827 that he succeeded
in having an opera produced. This portion of his life was full of
disappointment and chilled ambitions; for, in spite of the warm
friendship of Cherubini, who did everything to advance his interests, he
seemed to make but slow progress in popular estimation, though a number
of operas were produced.

Halévy's full recognition, however, was found in the great work of "La
Juive," produced February 23, 1835, with lavish magnificence. It is said
that the managers of the Opera expended 150,000 francs in putting it
on the stage. This opera, which surpasses all his others in passion,
strength, and dignity of treatment, was interpreted by the greatest
singers in Europe, and the public reception at once assured the composer
that his place in music was fixed. Many envious critics, however,
declaimed against him, asserting that success was not the legitimate
desert of the opera, but of its magnificent presentation. Halévy
answered his detractors by giving the world a delightful comic opera,
"L'Éclair," which at once testified to the genuineness of his musical
inspiration and the versatility of his powers, and was received by the
public with even more pleasure than "La Juive."

Halévy's next brilliant stroke (three unsuccessful works in the mean
while having been written) was "La Reine de Chypre," produced in 1841.
A somewhat singular fact occurred during the performance of this opera.
One of the singers, every time he came to the passage,

Ce mortel qu'on remarque