He went back to working as a cellist, and occasional conductor, at the Opéra-Comique, but was not encouraged in his aspirations to compose.

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He made a favourable impression on the composer and conductor Fromental Halévy, who gave him lessons in composition and orchestration and wrote to Isaac Offenbach in Cologne that the young man was going to be a great composer.

Although Offenbach's ambition was to compose for the stage, he could not gain an entrée to Parisian theatre at this point in his career; with Flotow's help, he built a reputation composing for and playing in the fashionable salons of Paris.

Before leaving, he found a number of pupils for Jules; the modest earnings from those lessons, supplemented by fees earned by both brothers as members of synagogue choirs, supported them during their studies.

At the conservatoire, Jules was a diligent student; he graduated and became a successful violin teacher and conductor, and led his younger brother's orchestra for several years.

The British press reported a triumphant royal command performance; The Illustrated London News wrote, "Herr Jacques Offenbach, the astonishing Violoncellist, performed on Thursday evening at Windsor before the Emperor of Russia, the King of Saxony, Queen Victoria, and Prince Albert with great success." Offenbach returned to Paris with his reputation and his bank balance both much enhanced.

The last remaining obstacle to his marriage to Hérminie was the difference in their professed religions; he converted to Roman Catholicism, with the comtesse de Vaux acting as his sponsor.

To extend his fame and earning power beyond Paris, he undertook tours of France and Germany.

Among those with whom he performed were Anton Rubinstein and, in a concert in Offenbach's native Cologne, Liszt. There, he was immediately engaged to appear with some of the most famous musicians of the day, including Mendelssohn, Joseph Joachim, Michael Costa and Julius Benedict.

Offenbach became associated with the Second French Empire of Napoleon III; the emperor and his court were genially satirised in many of Offenbach's operettas.