Sacchini's second opera for the Paris stage was also based on a subject the composer had treated (twice) before, the story of El Cid. The new work appeared at the court theatre under the title "Chimène" in November 1783, in an atmosphere of direct competition with Piccinni. Piccinni's "Didon", staged at court the previous month, had been hailed as a masterpiece, enjoying a further two performances there; in comparison, "Chimène" made less of an impression and was only given once. However, "both composers were presented to the king (Sacchini by the queen herself) and given a large pension". In fact, despite Sacchini's arrival in Paris having been supported by Piccinni himself (he had initially seen Sacchini as an ally), the continuing absence of Gluck (which would turn out to be permanent), the intrigues of Piccinni's enemies, Sacchini's touchiness and his need for money, had inevitably ended in a rivalry between the two Italian composers, and a third musical faction had emerged on the Parisian scene: the "Sacchinists", a "sort of moderate Gluckists, who, as writer on music Grimm wittily observed, had adhered to the new sect solely because of their jealousy towards Piccinni. With his indecisiveness and weakness, Sacchini only succeeded in setting himself against both factions, without endearing himself to either; and when it came to a fight, he found both of them against him."