introduced as replacements. The sensational plot and the notoriety of the Nuns' ballet ensured that the opera was a hot topic in journals and reviews. This was assisted by the marketing skills of the director Véron and the publisher Schlesinger. The scenery was of exceptional quality: "This was as much an opera to see as to hear, and it has been argued that the real hero behind Robert le diable was Cicéri, the designer." Meyerbeer was keen to keep influential persons on his side. For example, he sent free tickets for 'a good box' to Heinrich Heine. And of course the businessman Véron knew how to use (and pay) the claque and its leader Augustin Levasseur. But undoubtedly the novelty and colour of the music of Meyerbeer deserves major credit. The alliance of his German musical training, along with his study of opera for many years in Italy, was highly attractive to a Parisian audience which 'asked only to be astonished and surprised.' The critic Ortigue wrote that Meyerbeer 'straight away [took] his position at the crossroads where Italian song and German orchestration have to meet.' Meyerbeer paid close attention to unusual combinations and textures and original orchestration, examples being the use of low brass and woodwind playing chromatic passages associated with Bertram; the use of a brass band and male choir to characterise the demons in Act 3; and so on. Hector Berlioz was particularly impressed; he wrote an entire article in the Revue et gazette musicale, entitled 'On the Orchestration of Robert le diable ', which concluded: Robert le Diable provides the most astonishing example of the power of instrumentation when applied to dramatic music; ... a power of recent introduction which has achieved its fullest development in the hands of M. Meyerbeer; a conquest of modern art which even the Italians will have to acknowledge in order to prop up as best they can their miserable system which is collapsing in ruins. The opera was perceived to have weaknesses of characterization. For example, Robert's dithering behaviour led to one comment that "what is least diabolical in Robert le diable is Robert himself." But the critic Fétis gave the consensus opinion: "Robert le diable is not only a masterpiece; it is also a remarkable work within the history of music ...[it] seems to me to unite all the qualities needed to establish a composer's reputation unshakeably." The success