The 1887 opera season at Drury Lane celebrated Queen Victoria's golden jubilee by featuring a particularly starry international cast, including Jean de Reszke, Édouard de Reszke, Victor Maurel, Minnie Hauk and Lilian Nordica. The repertoire was Italian (Il barbiere di Siviglia, La traviata and Rigoletto), French (Les Huguenots, Faust and Carmen) and German or Austrian (Don Giovanni and Lohengrin). Wearing comments that the season was an artistic and social success, but lost £10,000. As well as the opera, Harris presented serious non-musical drama, including seasons by the Comédie-Française (1893), Eleonora Duse (1895), and the ducal court company of Saxe-Coburg and Gotha (1895). Covent Garden By 1888 Harris was so closely identified with his theatre that he was popularly known as "Druriolanus". He remained in charge at Drury Lane for the rest of his life, but having had to contend with the rival opera seasons of the Royal Italian Opera House, Covent Garden (run by Antonio Lago) and Her Majesty's Theatre (run by Mapleson), he concluded that "in London there is room for but one operatic enterprise at a time", and that he should take over Covent Garden. He assembled a syndicate of influential backers including Lord Charles Beresford, Earl de Grey and Henry Chaplin and took over the lease of the house in early 1888. From May to July he presented a ten-week season with Luigi Mancinelli and Alberto Randegger as conductors and 21 leading singers including Emma Albani, the de Reszkes, Hauk, Nordica, and Nellie Melba in her London debut. The repertoire consisted of 19 operas, beginning with Lucrezia Borgia and ending with Les Huguenots. There was no rival opera season in 1888, but Mapleson mounted an Italian season at Her Majesty's the following year. His mediocre casts, conventional repertoire and old-fashioned productions did not draw the public. By contrast Harris attracted capacity audiences with top-flight stars and works such as Die Meistersinger never before seen at Covent Garden. He also began a fundamental, and lasting, reform of the house's linguistic policy. In keeping with its title "Royal Italian Opera House", operas of whatever nationality were sung in Italian, including Carmen and Die Zauberflöte ("Il flauto magico"). Although 21 of the 22 operas in Harris's 1889 season were sung in Italian, including Die Meistersinger and Les Huguenots, Gounod's Roméo et Juliette was sung in French, an innovation much remarked upon in the press. Harris's decision was widely praised; The