the acceptance of an opera, "La Famille Suisse," at the Théâtre Faydeau
in 1796, where it was given on alternate nights with Cherubini's
"Médée." Other operas followed in rapid succession, among which may be
mentioned "La Dot de Suzette" (1798) and "Le Calife de Bagdad" (1800).
The latter of these was remarkably popular, and drew from the severe
Cherubim the following rebuke: "Malheureux! Are you not ashamed of such
undeserved triumph?" Boïeldieu took the brusque criticism meekly and
preferred a request for further instruction from Cherubini--a proof
of modesty and good sense quite remarkable in one who had attained
recognition as a favorite with the musical public. Boïeldieu's three
years' studies under the great Italian master were of much service, for
his next work, "Ma Tante Aurore," produced in 1803, showed noticeable
artistic progress.

It was during this year that Boïeldieu, goaded by domestic misery
(for he had married the danseuse Clotilde Mafleuray, whose notorious
infidelity made his name a byword), exiled himself to Russia, even then
looked on as an El Dorado for the musician, where he spent eight years
as conductor and composer of the Imperial Opera. This was all but a
total eclipse in his art-life, for he did little of note during the
period of his St. Petersburg career.

He returned to Paris in 1811, where he found great changes. Méhul and
Cherubini, disgusted with the public, kept an obstinate silence; and
Nicolo was not a dangerous rival. He set to work with fresh zeal, and
one of his most charming works, "Jean de Paris," produced in 1812, was
received with a storm of delight. This and "La Dame Blanche" are the two
masterpieces of the composer in refined humor, masterly delineation,
and sustained power both of melody and construction. The fourteen years
which elapsed before Boïeldieu's genius took a still higher flight