In every sense, in his conception of opera, in his treatment of orchestration, in his handling of choruses, even in stage setting, he gave us new principles by which our modern works have profited to a large extent.
Theophile Gautier was no musician, but he had a fine taste in music and he judged Meyerbeer as follows: "In addition to eminent musical talents, Meyerbeer had a highly developed instinct for the stage.

He goes to the heart of a situation, follows closely the meanings of the words, and observes both the historical and local color of his subject....

Few composers have understood opera so well." * * * * * The success of the Italian school appeared to have utterly ruined this understanding and care for local and historical color.

Rossini in the last act of _Otello_ and in _Guillaume Tell_ began its renaissance with a boldness for which he deserves credit, but it was left to Meyerbeer to restore it to its former glory.
It is impossible to deny his individuality.

The amalgamation of his Germanic tendencies with his Italian education and his French preferences formed an ore of new brilliancy and new depth of tone.