Boieldieu studied in Rouen under the organist Charles Broche and composed numerous operas and piano sonatas. His sonatas are remarkable for their form, and they constitute the first important body of piano works by a French composer. In 1796 he settled in Paris, where he met Étienne Méhul (Méhul, Étienne-Nicolas) and Luigi Cherubini (Cherubini, Luigi). The following year he produced three comic operas—La Famille suisse, L'Heureuse nouvelle, and Le Pari ou Mombreuil et Merville. He became professor of piano at the conservatory in 1798 and composed his successful operas Le Calife de Bagdad (1800) and Ma Tante Aurore (1803). From 1804 to 1810 he directed the opera at St. Petersburg, Russia. In 1816 he became director of music to Louis XVIII, in 1817 a member of the French Institute, and in 1820 professor of composition at the conservatory. His main operas of this period were Jean de Paris (1812), Le Petit Chaperon rouge (1818; “Little Red Riding Hood”), and his masterpiece, La Dame blanche (1825; “The White Lady”). Composed on a libretto by Eugène Scribe (Scribe, Eugène), derived from Sir Walter Scott (Scott, Sir Walter, 1st Baronet)'s novels The Lady of the Lake, Guy Mannering, and Monastery, it had received 1,700 performances by 1914. Boieldieu's work illustrates the evolution of French operatic music in the generation following the French Revolution. In its lighter aspects, his style was compared to Gioacchino Rossini (Rossini, Gioachino)'s. His scenes of mystery and romance, particularly in La Dame blanche, are akin to those of Carl Maria von Weber (Weber, Carl Maria von). He also composed numerous romances for voice and harp or piano and a concerto for harp (1801).