In 1850 Ambroise Thomas produced two operas:  “Le Songe d’une Nuit d’Ete,” resembling in style somewhat that masterpiece produced in after-years, “Mignon,” and a somber work based on the legend of “The Man with the Iron Mask,” “Le Secret de la Reine.”  The melodramatic character of this latter work seems to have been imitated from the highly accented and artificial style of Verdi, instead of possessing the bright and airy charm natural to Thomas.  The vacancy left by Spontini’s death in the French Institute was filled by the election of M. Thomas, who was deemed most worthy, among all the musical names offered, of taking the place of the author of “La Vestale.”  He justified the taste of his co-members by his production in 1853 of the comic opera of “La Tonelli,” a work which, though not greatly successful with “hoi polloi,” was an admirable specimen of light and graceful opera at its best.  The new academician was recompensed for the public indifference by the cordial appreciation which connoisseurs gave this tasteful and scientific production.  Another comic opera, “Psyche,” which soon appeared, though full of witty burlesque and humor in the libretto, and marked by delicious melody in every part, failed to please, perhaps on account of the predominance of feminine roles, and the absence of a good tenor part.  Still a third comic opera, the “Carnaval de Venise” saw the light the same season, which was written in large measure to show the marvelous flexibility of Mme. Cabal’s voice.  Very few singers have been able to sing the role of Sylvia, who warbles a violin concerto from beginning to end, under the title of an “Ariette without Words.”

Ambroise Thomas remained silent now for half a dozen years, aside from the composition of a few charming songs.  It is natural to suppose that he was brooding over the conception of his greatest work, which was next to see the light of day, and add one more to the great operas of the world.  Such compositions are not hastily manufactured, but grow for years out of the travail of heart and brain, deep thought, high imaginings, passionate sensibilities, elaborately wrought by time and patience, till at last they are crystallized into form.

“Mignon,” a comic opera in three acts, was first represented at the Theatre Lyrique, on November 17, 1866, before one of the most brilliant and enthusiastic audiences ever gathered in Paris.  Its success was magnificent.  This was seven years after Gounod had made such a great stride among the composers of the age, by the production of “Faust”; and it is within bounds to say that, since “Faust,” no opera had been produced in Paris so vital with the breath of genius and great purpose, so full of sentiment and poetry, so symmetrical and balanced in its differentiation of music measured by its dramatic value, so instantly and splendidly recognized by the public, cultured and ignorant, gentle and simple.