For my part, I cannot cease admiring the intelligence with which Monsieur Piccinni has led the audience from sentiment to sentiment, from interest to interest; how he has graduated the effect of his music – how one feels not only each scene but also its connection with the general tone of the subject; how all the airs, all the recitatives, all the ballets, all the choruses tend to refer to the whole, how all these individual groups eventually form a total group in which everything agrees, everything is true, in which each detail sets off those surrounding it. That is worthy to be called genuine dramatic music.