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Updated: May 19, 2025
We get some further light on these principles from Gluck's letter of dedication to the Grand-Duke of Tuscany on the publication of "Alceste."
"Pray Heaven it may!" said Schwartz, shuddering. And the foam globe disappeared. Dawn came at last, and the two brothers looked out of Gluck's little window in the morning. The Treasure Valley was one mass of ruin and desolation. The inundation had swept away trees, crops, and cattle, and left in their stead a waste of red sand and gray mud.
"Sorry to incommode you," said their visitor, ironically. "I'm afraid your beds are dampish; perhaps you had better go to your brother's room: I've left the ceiling on, there." They required no second admonition, but rushed into Gluck's room, wet through, and in an agony of terror. "You'll find my card on the kitchen table," the old gentleman called after them. "Remember the last visit."
She had the gracious condescension to hear all the pieces through, at Gluck's request, before they were submitted to the stage for rehearsal. Gluck said he always improved his music after he saw the effect it had upon Her Majesty.
The gold was all melted, and its surface as smooth and polished as a river; but instead of reflecting little Gluck's head as he looked in, he saw meeting his glance from beneath the gold the red nose and sharp eyes of his old friend of the mug, a thousand times redder and sharper than ever he had seen them in his life.
"What!" was Gluck's reply "to sell to you that which would enable you to enslave and maltreat suffering Humanity?" And though the war departments of the nations have continued to experiment in their secret laboratories, they have so far failed to light upon the slightest trace of the secret.
It was on the eve of the first representation of "Iphigenia in Tauris," when the operatic battle was agitating the public. With all the ardor of a novice and a devotee, the young musical student immediately threw himself into the affray, and by the aid of a friend he succeeded in gaining admittance to the theatre for the final rehearsal of Gluck's opera.
In Calzabigi Gluck had met an author who fully appreciated his ideas, and had the talent of writing a libretto in accordance with them. This coadjutor wrote all the librettos that belonged to Gluck's greatest period.
They soon found themselves at their wits' end. With no money, and without the established reputation which commands the attention of managers, Mrs. Billington found that in taking a husband she had assumed a fresh responsibility. Finally she secured an engagement at the Smock Alley Theatre in Dublin, when she appeared in Gluck's opera of "Orpheus and Eurydice," with the well-known tenor Tenducci, whose exquisite singing of the air, "Water parted from the Sea," in the opera of "Artaxerxes," had chiefly contributed to his celebrity. It was
"Then, my wife has faith, not in what I have done, but in what I can do? Is it so, love?" "It is, Christopher. I believe in the power of your genius." Gluck's face wore an expression of triumph as she said this, and he smiled. His smile was very beautiful, and ever, when she saw it, his wife felt a thrill of happiness. Never had it seemed to her so full of heavenly inspiration.
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