however, new orchestrations have substituted saxophones and brass for strings. For many years, the only recording available of a Herbert show using his original orchestrations was one of Naughty Marietta, produced by the Smithsonian in 1981. Only recently have more recordings of his operettas appeared with the original orchestrations intact. These include Naughty Marietta, Mlle. Modiste, Eileen, Sweethearts and The Red Mill by Ohio Light Opera and The Fortune Teller by The Comic Opera Guild, which also has recorded numerous Herbert operettas live in concert with two-piano accompaniment. Like Sullivan, Herbert also frequently evokes and imitates music from distant places in his operettas. He uses elements of Spanish music in The Serenade, Italian music in Naughty Marietta, Austrian music in The Singing Girl and Eastern music in The Wizard of the Nile, The Idol's Eye, The Tattooed Man and other works set in places like Egypt and India. The Fortune Teller includes an energetic Hungarian csárdás. He also frequently interpolated Irish-style songs into his operettas which, with the exception of those in Eileen, rarely advanced the plot. By World War I, musical tastes were shifting in America, and Herbert was forced to compose in a simpler musical style. Many of his later works, such as The Velvet Lady and Angel Face (both 1919), imitated popular new song-types like the foxtrot, ragtime and the tango. Even in some of his earlier works, such as The Red Mill (1906), Herbert was already adopting elements that would later become associated with musical comedy in America. His collaboration on The Century Girl (1916) with Irving Berlin displayed this simpler style. Although these later shows introduced some memorable numbers, they did not enjoy the enduring popularity of his most popular operettas. The most successful work of his later career was Orange Blossoms (1921), which included the popular waltz song, "A Kiss in the Dark". Operas Although his success had been in light music, like Sullivan, Herbert aspired to compose serious operas. Approached by Oscar Hammerstein I to write a grand opera, Herbert jumped at the chance. Hammerstein announced, in the April 13, 1907 issue of Musical America, a $1,000 prize for the best libretto submitted, fueling public enthusiasm and high expectations. Joseph Redding's libretto for Natoma, set in 1820s California, is a love story between an American naval officer and a Native American princess. The cast included such distinguished singers as John McCormack and Mary