all the farcical oddities thrown in profusion into Offenbach's music". Writing of the 1874 revised version, the authors of said, " is above all a good show. The music of Offenbach has retained its youth and spirit. The amusing operetta of yore has become a splendid extravaganza", against which Félix Clément and Pierre Larousse wrote in their (1881) that the piece is "a coarse and grotesque parody" full of "vulgar and indecent scenes" that "give off an unhealthy smell". The opera was widely seen as containing thinly disguised satire of the régime of Napoleon III, but the early press criticisms of the work focused on its mockery of revered classical authors such as Ovid and the equally sacrosanct music of Gluck's . Faris comments that the satire perpetrated by Offenbach and his librettists was cheeky rather than hard-hitting, and Richard Taruskin in his study of 19th-century music observes, "The calculated licentiousness and feigned sacrilege, which successfully baited the stuffier critics, were recognized by all for what they were – a social palliative, the very opposite of social criticism[...] The spectacle of the Olympian gods doing the cancan threatened nobody's dignity." The Emperor greatly enjoyed when he saw it at a command performance in 1860; he told Offenbach he would "never forget that dazzling evening". 20th and 21st centuries After Offenbach's death his reputation in France suffered a temporary eclipse. In Faris's words, his comic operas were "dismissed as irrelevant and meretricious souvenirs of a discredited Empire". Obituarists in other countries similarly took it for granted that the comic operas, including , were ephemeral and would be forgotten. By the time of the composer's centenary, in 1919, it had been clear for some years that such predictions had been wrong. was frequently revived, as were several more of his operas, and criticisms on moral or musical grounds had largely ceased. Gabriel Groviez wrote in The Musical Quarterly: Among modern critics, Traubner describes as "the first great full-length classical French operetta[...] classical (in both senses of the term)", although he regards the 1874 revision as "overblown". Peter Gammond writes that the public appreciated the frivolity of the work while recognising that it is rooted in the best traditions of opéra comique. Among 21st-century writers Bernard Holland has commented that the music is "beautifully made, relentlessly cheerful, reluctantly serious", but does not show as the later Tales of Hoffmann does "what a profoundly