"La muette de Portici" played a major role in establishing the genre of grand opera. Many of its elements – the five-act structure, the obligatory ballet sequence, the use of spectacular stage effects, the focus on romantic passions against a background of historical troubles – would become the standard features of the form for the rest of the 19th century. Grand opera would play a far more important role in the subsequent career of the librettist than that of the composer. Auber went on to write three more works in the genre: "Le Dieu et la bayadère" (1830), "Gustave III" (1833) and "Le lac des fées" (1839). But their fame would be eclipsed by the grand operas for which Scribe provided the libretti: Meyerbeer's "Robert le diable" (1831) and "Les Huguenots" (1836) and Halévy's "La Juive" (1835). Nevertheless, Auber's pioneering work caught the attention of the young Richard Wagner, who was eager to create a new form of music drama. He noted that in "La muette", "arias and duets in the wonted sense were scarcely to be detected any more, and certainly, with the exception of a single prima-donna aria in the first act, did not strike one at all as such; in each instance it was the ensemble of the whole act that riveted attention and carried one away...".