As far as the public was concerned, the great success of these concerts was due to the incomparable charm of the depth of tone, which was attributed to the hall.  The members of the Societe believed this, too, and they would let no other orchestra be heard there.  This state of affairs lasted until Anton Rubinstein got permission from the Minister of Fine Arts to give a concert there, accompanied by the Colonne orchestra.  The Societe fretted and fumed at this and threatened to give up its series of concerts.  But the Societe was overruled and the concert was given.  To the general surprise it was seen that another orchestra in the same hall produced an entirely different effect.  The depth of tone which had been appreciated so highly, it was found, was due to the famous Societe itself, to the character of the instruments and the execution.

Nevertheless, the hall is excellent, although it is no longer adequate for the presentation of modern compositions.  But it is a marvellous place for the numerous concerts given by virtuosi, both singers and instrumentalists, accompanied by an orchestra, and for chamber music.  Finally, the hall where France was introduced to the masterpieces of Haydn, Mozart and Beethoven, whose influence has been so profound, is a historic place.

Numerous improvements in the administration of the Conservatoire have been introduced during the last few years.  On the other hand, old and honored customs have disappeared and we can but regret their loss.  From Auber’s time on there was a pension connected with the Conservatoire.  Here the young singers who came from the provinces at eighteen found board and lodging, a regular life, and a protection from the temptations of a large city, so dangerous to fresh young voices.  Bouhy, Lassalle, Capoul, Gailhard and many others who have made the French stage famous came from this pension.

We also used to have dramatic recitals which were excellent both for the performers and the audiences as they gave works which were not in the usual repertoire.  In these recitals they gave Mehul’s Joseph, which had disappeared from the stage for a long time.  The beautiful choruses sung by the fresh voices of the pupils made such a success and the whole work was so enthusiastically applauded that it was revived at the Opera-Comique and won back a success which it has never lost.  We also heard there Gluck’s Orphee long before that masterpiece was revived at the Theatre-Lyrique.  Then there was Mehul’s Irato, a curious and charming work which the Opera took up afterwards.  And there, too, they gave the last act of Rossini’s Otello.  The tempest in that act gave me the idea of the one which rumbles through the second act of Samson.

When the hall was reconstructed, the stage was destroyed so that such performances are impossible.  But to make up for this, they installed a concert organ, a necessary adjunct for musical performances.