François Wartel (Raimbaut). By Meyerbeer's death in 1864 the opera had been performed over 470 times in Paris alone. Early performances outside Paris A succession of representations throughout Europe and in the Americas launched Meyerbeer's international fame. A version of the opera – under the title of The Fiend-Father, by Rophino Lacy – was first presented in London at the Theatre Royal, Drury Lane on 20 February 1832; the original version appeared at the Haymarket Theatre on 11 June of that year. Lacy's version was given in New York on 7 April 1834. In 1832 the opera reached Berlin, Strasbourg, Dublin and Liège; in 1833 Brussels, Copenhagen, Vienna and Marseilles; in 1834 Lyon, Budapest, The Hague, Amsterdam and Saint Petersburg; in 1835 (12 May) it obtained its first American performance in the original French at the Théâtre d'Orléans in New Orleans. Italian versions were given in Lisbon in 1838, and in Florence in 1840. Meyerbeer took particular care over the first London and Berlin productions. He travelled to London to check the singers and production for the original version, and requested that the German translation for Berlin be undertaken by the poet Ludwig Rellstab, strongly recommending that Taglioni and her father Fillipo be re-engaged, and that Ciceri's sets should be reproduced. Although Taglioni danced and the sets were retained, the translation was eventually carried out by Meyerbeer's friend Theodor Hell. Meyerbeer wrote additional ballet music for Taglioni for the Berlin production. The Danish choreographer August Bournonville saw Fitzjames's performance as the Abbess in Paris in 1841, and based his own choreography, which was used in Copenhagen between 1833 and 1863, on this. This choreography, which has been fully preserved, represents the only record of Filippo Taglioni's original. In 1847 Felix Mendelssohn attended a London performance of Robert – an opera which musically he despised – in order to hear Jenny Lind's British debut, in the role of Alice. The music critic Henry Chorley, who was with him, wrote "I see as I write the smile with which Mendelssohn, whose enjoyment of Mdlle. Lind's talent was unlimited, turned round and looked at me, as if a load of anxiety had been taken off his mind." Twentieth century During the early twentieth century, Meyerbeer's operas gradually disappeared from the stage, partly due to their length and expense to mount, partly due to their denigration by supporters of Wagnerian opera. In 1898, George