In the works of the next group of composers, especially when produced after 1870, the distinctly romantic tendency is more manifest, so that in many instances the type is no longer called 'opéra comique,' but 'drame lyrique.'
Among those early in this field were the eminent orchestral composer of
oriental predilections Félicien David (d. 1876), who wrote a few striking
operatic works, especially La Perle du Brésil (1851), Herculanum (1859)
and Lalla Rookh (1862); Léon Gastinel, with about 10 operas (from 1853),
extending to recent years, besides oratorios, masses, works for orchestra, etc.;
Louis Étienne Ernest Reyer, David's successor in the Academy (and, like him,
at first fond of oriental color), librarian at the Opéra and a brilliant critic,
with 7 operas (from 1854), including the important La statue (1861), and the
more elaborate Sigurd (1884) and Salammbò (1890), besides choral works—in
his later writing frankly adopting Wagner's ideas; Louis Pierre Deffès
(d. 1900), pupil of Halévy, Prix-winner in 1847 and long in charge of the
Toulouse conservatory, with 15 operas (1855-98), often very successful, and
many choral and orchestral works; Léo Delibes (d. 1891), pupil of Adam,
from 1853 accompanist at the Théâtre Lyrique, in 1865-72 assistant chorusmaster
at the Opéra and from 1881 professor of composition at the Conservatoire,
still more successful with a long list of works of varying dimensions,
especially the ballets La source (1866), Coppélia (1870) and Sylvia (1876),
and the operas Jean de Nivelle (1880) and Lakmé (1883), besides choruses
and songs.
Especially characteristic in this connection was Charles François Gounod (d. 1893), born in 1818 and at first devoted to sacred music. He entered the dramatic field with the grand operas Sapho (1851) and La nonne sanglante (1854), and only later with the comic Le médecin malgré lui—none with much favor. But his brilliant Faust (1859) was an instant and general success, and was soon followed by 5 others, of which the more notable were Mireille (1864) and Roméo et Juliette (1867). Later he added 3 more (1877-81) of less value. He excelled in suave melody and harmony, and in handling the orchestra in accompaniments and entr'actes. But his vivacity was not sustained in comic writing, and his lack of vigor kept him from full success in serious drama. In the poetic domain between he was more at home.
Outside the limits here set lie most of the works of several other composers who first appeared about 1860, like Georges Bizet (d. 1875), whose efforts before Carmen (1875) had little influence, partly because of their Wagnerian flavor; Samuel David (d. 1895), writer of many comedies; and Ernest Guiraud (d. 1892), an American by birth, from 1876 professor of harmony at the Conservatoire.
One reason why the opéra comique began to approximate to
the grand opera was the appearance from 1855 of the extremely
light opéra bouffe or farcical operetta, especially as devised by
Offenbach. The popularity of this small and trivial form was
