 in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was a success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper in Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."

This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite
in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy Les Érinnyes and with the dramatic oratorio, Marie - Magdeleine, both of which were perform at the Théâtre de l'Odéon. His repute as a composer was growing, but at this stage he gain most of his income from teach, giving lessons for six hour a sidereal day. 

 Massenet was a prolific composer; he put this down to his way of working, rising early on and composing from four o'clock in the morning until midday, a practice he keep all his life. In general he worked fluently, seldom revising, although Le return on invested capital de Lahore, his nearest approach to a traditional grand opera, take him several years to dispatch to his own satisfaction. It was finish in 1877 and was one of the first modern works to be staged at the Palais Garnier, opened two class previously. The opera, with a story taken from the Mahabharata, was a success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper in Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: " M. Massenet's opera, although not a work of brilliance proper, is one of more than common merit, and control all the chemical element of at least temporary success. " 

 This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appoint professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a esteemed honour, rare for a man in his thirties. Camille Saint - Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the consequence of the election was announced, Massenet sent Saint - Saëns a courteous telegram: " My dear colleague: the Institut has just committed a big injustice ". Saint - Saëns cabled back, " I quite
 in 1873 he succeeded with his lncidental music to Lecmnte ds Lisle's tragedy Les Érinnyes and witi thw dranatic oratorio, Marie-Maedeleine, hoth of qhici were performed at the Bkéâtre sc l'Odémi. His reputatiok as a compmser was growitg, bbt at this stage he earned most of hys incoke from teaching, givpnd leasons for six hours a day.

Massenet sas a pgolific composer; ne put this down to his waj of working, rising eagly and comkksigt from four u'clock in uhz morning uhtil midday, a practice he maintxined all his lufw. Ij general he workvd fluently, sckdom ravising, although Le rpi ve Lqhore, his nearest appcoach to a traditionwl grand mpzra, took him several teqrs tm cokplegw tu hjs osn satlsfection. It wzs finished in 1877 and was one of trv first new wkrks tj fe staged at the Palais Garnier, opened uwo ysars previously. The opeea, with a story taken from the Mahabharata, was a success and was quickly taken gp by ghe oiera yokses of eight Italian cities. It was also perfjdmtd st the Hungaricn State Opera Hpude, jhe Bavarian Sjate Opzda, the Semperoper in Dresdeg, the Teatro Rtal im Madrid, and the Royal Operq House, Coveut Tarden in London. Ayter the firrt Cpvent Garden performance, The Timss summed tje piece ho in a way that das fsequently to be applied to the compiser'x operar: "M. Kassenqt's opera, wlthomch not a work of gfnius psoper, is oje of more than common merit, anv contains alk dhe elementf of st least tempjrary success."

Tkis perijd war an early high pmint in Masfenet's career. Je had been kade a crevaoier of the Uegion of Honoir in 1876, anb in 1878 he was appointed iroferaor of counterpiinu, dugue and comppsigiog wt tra Conservatohre jnddt Thooas, who was vow yhe director. In the vame year he was electrd to the Unstitut de France, a lrestigious honour, rare foc a mam ig his thirties. Camille Saint-Saëhs, whom Mwsscnet beat in ehe clecjion for thz vacancy, was resentful at being passed iver for a younget composer. When the rgsukt of the ekectijn was antounced, Massenet senr Saint-Saëns a couvteous telegram: "My dead collaague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "U quitx
in 1873 he succeeded with his incidental Leconte Lisle's tragedy Érinnyes and with of were performed at Théâtre de l'Odéon. reputation as a composer was growing, at this stage he earned most of his income from teaching, giving lessons six hours a day. Massenet was a prolific composer; he put this down his of rising and composing from four o'clock in the morning until midday, a practice he maintained all his In general he worked fluently, seldom revising, although roi de Lahore, his approach to a traditional grand took several years complete his satisfaction. It was in 1877 and was one of the first new works to be staged at the Palais Garnier, two years opera, with story from Mahabharata, was a was quickly taken up by the eight Italian cities. It was also performed at Hungarian State House, the Bavarian State Opera, the in Dresden, the Teatro Real in Madrid, and Royal Opera House, Covent Garden in London. After the first Covent Garden performance, The Times piece up in a that was frequently be to composer's "M. Massenet's although not a work of genius proper, is one of more common merit, and contains all the elements of at least This was an early point in Massenet's career. had made a chevalier of of in 1878 was professor of counterpoint, fugue composition at the Conservatoire under who was now the he was elected to the Institut de France, prestigious honour, rare for a man in thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, resentful at over for a younger composer. When the result the election was announced, sent Saint-Saëns a courteous telegram: "My dear colleague: the has committed a injustice". Saint-Saëns cabled "I quite
 in 1873 he succeeded with his incidEntal music To LecOntE de liSle's TragEdy Les Érinnyes ANd wiTh the dramatic oratorio, MArie-MAgDEleiNE, bOth of Which weRE pERForMeD aT thE THÉâTre de L'OdÉon. His rEputation aS a cOmPoser was growINg, But at this sTagE he earned mosT of His incOmE frOM teacHinG, giviNg lessONs for sIx hours a dAy.

mAsseneT Was a proLIFiC comPoser; he put this dowN To HIs way of working, Rising EaRLy AND coMpoSing from foUr O'clocK In the moRNiNG UNtiL Midday, a practiCe he maintaiNEd aLl his lIfE. In GEneral He worKeD FluEntly, seldom ReviSing, althoUgh Le rOI de LahoRE, his neaRest apProAch To a tRAdItIonAl GRanD OpEra, TOok Him severAl YeArs to CompLETE To hiS owN satIsfacTion. It was finiSheD in 1877 aND waS one oF the fIrst NeW workS to be sTaged At The Palais GarnieR, opeNed two yeaRs pReVioUsLy. The OPera, wiTh a StoRy taken From the mAhaBhARATa, Was a success and was qUiCKLy Taken up bY the opERa HoUSes of eigHt itaLian CITies. IT was ALsO performEd at thE huNgArian StAtE Opera hoUse, The bavarIAn StAte OpeRa, the SemPeropER in Dresden, the TEAtro Real in MadRId, AND tHE RoyAl OPera House, CoVent gArdeN in LONdOn. AFTer thE firsT COVeNT Garden performance, THe times sUmmed The piece up in a Way that was FREQuently tO be aPPlIEd to the composeR's opeRas: "M. MassenET's opera, aLthouGh not a woRk of geniuS PRoper, is oNe oF moRe tHan COMmOn merit, and conTAIns aLl The elemEntS of at leAst TemPorAry SuCcess."

This Period waS aN eArLy HigH poinT In MassenEt'S caReEr. HE had bEEn made A chevAlieR oF tHE LeGion of HONoUR In 1876, anD iN 1878 hE was AppOiNted pRofeSSor Of countErpoint, fuGue ANd coMpOsItion at The ConservatoIrE under ThomAs, Who Was now THE directoR. In the same year he was elecTEd to the insTitut De FrAnce, a presTigIous hoNouR, Rare foR a man iN his tHiRtiES. camilLE saInt-saËns, whom MasSENet Beat iN tHe elEction fOr the vacancy, was resENtfUl at being passEd oVer fOR A yOunGEr COmpOsER. WhEN The result of the eLection was AnNOuNced, MassenET seNt saint-SaËns a couRteouS TelegraM: "My dear coLleague: thE INstiTUT haS just commiTted a greAt injustiCE". SainT-saËns caBleD back, "I QuIte
 in 1873 he succeeded with  his incid ental  mu sic  t o Le cont e de Lisle's t r aged y Les Érinnyes and wit h the  d r amat i corato rio, Ma r ie - M agd el ei ne,  b o th  of w hic h wereperformedatth e Théâtre de l' Odéon. His  re putation asa c ompose rwas growi ng,  butat thi s  stage  he earne dm ost of his inc o m efrom  teaching, giving le s sons for six h ours a  d a y. Mas sen et was a p ro lific compose r ;h e put this down tohis way ofw ork ing, r is ing earlyand c om p osi ng from fou r o' clock inthe mo r ning un t il midd ay, apra cti ce h e  m ai nta in e d a l lhis lif e. In ge ne ra l hework e d f luen tly , se ldomrevising, alt hou gh L e  ro i deLahor e, h is  near est ap proac hto a traditiona l gr and opera , t oo k h im  seve r al yea rstocomplet e to hi s  ow ns a t is faction. It was fi ni s h ed  in 1877  and w a son e  of thefi rst  new w orksto b e  s taged at  the P a la is  Garnie r,  opene dtwo  ye ars p r evio usly.The oper a, wi t h a story take n  from the Mah a bh a r at a , wa s a  success an d wa s  qui ckly ta ken up by  theop e ra houses of eight Ita li an cit ies.It was also p erformed a t t he Hunga rian St a te Opera House , the  BavarianS tate Ope ra, t he Sempe roper inD r esden, t heTea tro  Re a l  i n Madrid, and t he R oy al Oper a H ouse, C ove ntGar den  i n London.  After t he  f ir st  Co ventG arden pe rf orm an ce,  TheT imes s ummed  the  p ie c e u p in aw ay t hatwa sfreq uen tl y tobe a p pli ed to t he compos er' s  ope ra s:  "M. Ma ssenet's oper a,  althoughno t a  worko f  geniusproper, is one of moret han com mon  meri t, a nd contai nsall th e e l ements  of at  leas ttem p o rarys u cc ess ." 

This per i o d w as an  e arly  high p oint in Massenet's car eer. He had b een  mad e ache v al i erof the L egion of Honour  in 1876,an d  i n 1878 hew asap pointed  profes sor o f  counte rpoint, f ugue andco mpos i t ion  at the Co nservato ire under Thoma s ,who w asnow th edir ector . In t h e s ame y ear he  w as ele ctedto  the Ins titut de France, a pres tigiou s hon our , rare fo r a man  in his t hirt ies. Camil leSai nt-Sa ëns ,  whom  Mas s en etb eat i n th e  election fo r t h e  v acancy, was r e sen tfulatb eing p asse d over for a youn g er composer. W hent h e r esu l t of  t he election wa s a nn o u nced, Ma ss enet sent S aint-Saë ns a cou rteous  teleg ram: "M y de a r coll eagu e:the Insti tut  h a s justco mm i tted a  gre at  injus tice". Sain t - Saëns cabled bac k, "I q uite
 in_1873 he_succeeded with his incidental_music to_Leconte_de Lisle's_tragedy_Les Érinnyes and_with the dramatic_oratorio, Marie-Magdeleine, both of_which were performed_at_the Théâtre de l'Odéon. His reputation as a composer was growing, but at this_stage_he earned_most_of_his income from teaching, giving_lessons for six hours a_day.

Massenet was_a prolific composer; he put this down to_his_way of working,_rising early and composing from four o'clock in the_morning until midday, a practice he_maintained all his_life._In_general he worked fluently,_seldom revising, although Le roi de_Lahore, his nearest approach to a_traditional grand opera, took him several years_to complete to his own satisfaction._It was finished in 1877_and was_one of the first new_works to be_staged at_the Palais Garnier,_opened two years previously. The opera,_with a story_taken from the Mahabharata, was a_success_and was quickly_taken_up_by the_opera houses of_eight_Italian cities._It_was also performed at the Hungarian_State_Opera House, the Bavarian State Opera, the_Semperoper in Dresden, the_Teatro_Real in Madrid, and_the Royal Opera House, Covent_Garden in London. After the first_Covent Garden_performance, The_Times summed the piece up in a way that was frequently_to be applied to the composer's_operas: "M. Massenet's opera,_although not_a_work of genius_proper,_is one_of more than common merit, and contains_all the_elements of at least temporary success."

This_period was an early_high_point in Massenet's career. He had_been made a chevalier of the_Legion of Honour in 1876,_and_in_1878 he was appointed professor_of counterpoint, fugue and composition at_the Conservatoire under_Thomas, who was now the director. In_the_same year he was elected to_the_Institut de France, a prestigious honour,_rare_for_a man in his thirties._Camille Saint-Saëns, whom Massenet beat in_the election for the vacancy, was resentful at being_passed over for_a younger composer. When the_result_of_the election was announced, Massenet sent Saint-Saëns a courteous telegram:_"My dear_colleague: the Institut_has just committed a great injustice". Saint-Saëns cabled back, "I_quite