in three acts, has a libretto by André Alexandre and Georges Hartmann, adapted from Pierre Loti's semi-autobiographical 1880 novel Rarahu or Le Mariage de Loti set in Tahiti. It ran for seven performances in 1898, and was revived at Cannes in 1942, conducted by the composer, but was not seen again in Paris until 2016, when a production from the Théâtre de la Coupe d'Or, Rochefort was presented at the Théâtre de l'Athénée. Henri Büsser considered the work "charming … very musical"; it is through-composed and there are no set-piece numbers. Hahn makes use of leitmotifs, following the example of Massenet. La Carmélite (1902), a period piece set in the reign of Louix XIV, made little impact, although its conductor, Messager, who was musical director at Covent Garden as well as at the Opéra Comique, considered staging it in London; the idea was not realised. Neither of Hahn's next two operas – Nausicaa (1919, libretto by René Fauchois) and La Colombe de Bouddha (Buddha's Dove, 1921), a one-act work with words by André Alexandre – was written for Paris, and neither was staged there. The former was given at the Opéra de Monte-Carlo, and the latter at the Théâtre du Casino municipal de Cannes, where Hahn conducted frequently. Le Marchand de Venise (1935) was the most successful of Hahn's serious operas. It was well received; Büsser wrote: Other critics noted the Mozartian lightness of the score, and Hahn's view of Shakespeare's drama as a comedy rather than a tragedy. After the opera had its American premiere, the critic Herbert Kupferberg described it as "charming and dramatic", and called for a recording. The piece has been revived by the Opéra-Comique (1979) and at the Grand Théâtre Massenet, Saint-Étienne (2015). Hahn left an unfinished opera, Le Oui des jeunes filles (The Maidens' Consent), which Büsser completed; it was given by the Opéra-Comique company in June 1949. Ciboulette, Hahn's first venture into opérette, was his most successful and enduring. In a study of opérette, James Harding writes that Hahn's score, though in the tradition of earlier composers, specifically Lecocq, "rejuvenates the old technique with a singular brightness of melody and adroit combinations of voice and instrument". After the initial run in 1923, there were revivals in Paris in 1926, 1931 and 1935, and after Hahn's death there were revivals at the Opéra-Comique in 1953, 2013 and 2014. When the work was first given