But undoubtedly the novelty and colour of the music of Meyerbeer deserves major credit. The alliance of his German musical training, along with his study of opera for many years in Italy, was highly attractive to a Parisian audience which 'asked only to be astonished and surprised.' The critic Ortigue wrote that Meyerbeer 'straight away his position at the crossroads where Italian song and German orchestration have to meet.' Meyerbeer paid close attention to unusual combinations and textures and original orchestration, examples being the use of low brass and woodwind playing chromatic passages associated with Bertram; the use of a brass band and male choir to characterise the demons in Act 3; and so on. Hector Berlioz was particularly impressed; he wrote an entire article in the "Revue et gazette musicale", entitled 'On the Orchestration of "Robert le diable" ', which concluded: