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The ballad appointed by the author was disapproved by all, and I pleased everybody by my fortunate fancy of adapting some English verses to the notes of Sacchini's song; and Jane Hamilton sung them enchantingly: "The lines were printed, but I lost them. 'What a wild Tragedy is this! said I to Hannah More, who was one of the audience.
These happily turned thirds, although they weren't Sacchini's, were, none the less, an excellent innovation. Benoist was less happy when he was asked to put some life into Bellini's Romeo by using earsplitting outbursts of drums, cymbals, and brass. During the same noise-loving period Costa, in London, gave Mozart's Don Juan the same treatment.
In addition to his ballets, Benoist did other little odd jobs for the Opéra. As a result one day, without thinking, he gave me the key to a deep secret. In his famous Traité d'Instrumentation Berlioz spoke of his admiration for a passage in Sacchini's Oedipus
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