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,” “Iphigenie 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 think themselves entitled to pass a verdict on ‘Alceste’ from some informal rehearsals, badly conducted and executed.  Some fastidious ear found a vocal passage too harsh, or another too impassioned, forgetting that forcible expression and striking contrasts are absolutely necessary.  It was likewise decided in full conclave, that this style of music was barbarous and extravagant.”

In spite of the judgment of the critics, “Alceste” increased the fame of Gluck to a great degree.  Paris wanted to see the man who had revolutionized Italian opera.  The French Royale Academie had made him an offer to visit the capital, for which he was to write a new opera for a debut.  A French poet, Du Rollet, living in Vienna, offered to write a libretto for the new opera, and assured him there was every chance for success in a visit to France.  The libretto was thereupon written, or rather arranged from Racine’s “Iphigenie en Aulide,” and with this, Chevalier Gluck, lately made Knight of the papal order of the Golden Spur, set out for Paris.

And now began a long season of hard work.  The opera “Iphigenie” took about a year to compose, besides a careful study of the French language.  He had even more trouble with the slovenly, ignorant orchestra, than he had with the French language.  The orchestra declared itself against foreign music; but this opposition was softened down by his former pupil and patroness, the charming Marie Antoinette, Queen of France.

After many trials and delays, “Iphigenie” was produced August 19, 1774.  The opera proved an enormous success.  The beautiful Queen herself gave the signal for applause in which the whole house joined.  The charming Sophie Arnould sang the part of Iphigenie and seemed to quite satisfy the composer.  Larrivee was the Agamemnon, and other parts were well sung.  The French were thoroughly delighted.  They feted and praised Gluck, declaring he had discovered the music of the ancient Greeks, that he was the only man in Europe who could express real feelings in music.  Marie Antoinette wrote to her sister:  “We had, on the nineteenth, the first performance of Gluck’s ‘Iphigenie,’ and it was a glorious triumph.  I was quite enchanted, and nothing else is talked of.  All the world wishes to see the piece, and Gluck seems well satisfied.”