Also, the absence of starchy historical content in "Robert" doubtless played a part in attracting the bourgeoisie to the opera, until then regarded as primarily an aristocratic entertainment. The success of the opera also justified the government's policy of 'privatization' in selling the management to Véron, and this was a landmark in the dilution of state control and patronage in the fine arts. Although Véron had not commissioned it (having taken control only after the Revolution), "Robert" was his first new production as manager of the Opéra, and its success underwrote his policy of commissioning similar works. These were to include Meyerbeer's "Les Huguenots", Fromental Halévy's "La Juive", and Daniel Auber's "Gustave III". However, while they used 'the same dazzling theatrical rhetoric' as "Robert", they led to 'uniformly horrific dénouements' with 'gripping moral urgency', their more sophisticated plot-lines reflecting the changes in taste of the new opera clientele. They , with the Opéra itself as its centre, in the period 1830 until 1850.