composer. It was coldly received, and it was not till the loss of
private fortune set a sharp spur to his creative activity that he set
himself to serious work. "La Bergère Châtelaine," produced in 1820,
was his first genuine success, and equal fortune attended "Emma" in the
following season.

The duration and climax of Auber's musical career were founded on his
friendship and, artistic alliance with Scribe, one of the most fertile
librettists and playwrights of modern times. To this union, which lasted
till Scribe's death, a great number of operas, comic and serious, owe
their existence: not all of equal value, but all evincing the apparently
inexhaustible productive genius of the joint authors. The works on which
Auber's claims to musical greatness rest are as follows: "Leicester,"
1822; "Le Maçon," 1825, the composer's _chef-d'ouvre_ in comic opera; "La
Muette de Portici," otherwise "Masaniello," 1828; "Fra Piavolo," 1830;
"Lestocq," 1835; "Le Cheval do Ihonze," 1835; "L'Ambassadrice," 1836;
"Le Domino Noir," 1837; "Les Diamants de la Couronne," 1841; "Carlo
Braschi," 1842; "Haydée," 1847; "L'Enfant Prodigue," 1850; "Zerline,"
1851, written for Madame Alboni; "Manon Lescaut," 1856; "La Fiancée du
Roi de Garbe," 1867; "Le Premier Jour de Bonheur," 1868; and "Le Rêve
d'Amour," 1869. The last two works were composed after Auber had passed
his eightieth year.

The indifference of this Anacreon of music to renown is worthy of
remark. He never attended the performance of his own pieces, and
disdained applause. The highest and most valued distinctions were
showered on him; orders, jeweled swords, diamond snuffboxes, were poured
in from all the courts of Europe. Innumerable invitations urged him to
visit other capitals, and receive honor from imperial hands. But Auber
was a true Parisian, and could not be induced to leave his beloved city.