Gounod arrived home in Paris in May 1843.
He took up a post, which his mother had helped to secure, as chapel master of the church of the Missions étrangères.
For a winner of the Prix de Rome it was not a distinguished position.
The organ of the church was poor, and the choir consisted of two basses, a tenor and a choirboy.
To compound Gounod's difficulties, the regular congregation was hostile to his attempts to improve the music of the church.
He expressed his views to a colleague:
It is high time the flag of liturgical art took the place occupied hitherto in our churches by that of profane melody. [
Let us] banish all the romantic lollipops and saccharine piosities which have been ruining our taste for so long.
Palestrina and Bach are the musical Fathers of the Church: our business is to prove ourselves loyal sons of theirs.

Despite his generally affable and compliant nature Gounod remained adamant; he gradually won his parishioners over, and served for most of the five-year term he had agreed to.

During this period Gounod's religious feelings became increasingly strong.
He was reunited with a childhood friend, now a priest, Charles Gay, and for a time he himself felt drawn to holy orders.
In 1847 he began to study theology and philosophy at the seminary of St Sulpice, but before long his secular side asserted itself.
Doubting his capacity for celibacy, he decided not to seek ordination and continued with his career as a musician.
He later recalled:
The 1848 Revolution had just broken out when I left my job as musical director at the Église des Missions étrangères.
I had done it for four and a half years and I had learnt a lot from it, but as far as my future career was concerned it had left me vegetating without any prospects.
There's only one place where a composer can make a name for himself: the theatre.

The outset of Gounod's theatrical career was greatly helped by his reacquaintance with Pauline Viardot in Paris in 1849.
Viardot, then at the peak of her fame, was able to secure for him a commission for a full-length opera.
In this Gounod was exceptionally fortunate: a novice composer in the 1840s would usually, at the most, be asked to write a one-act curtain raiser.
Gounod and his librettist, Emile Augier, created Sapho, drawing on Ancient Greek legend.
It was intended as a departure from the three genres of opera then prevalent in Paris – Italian opera, grand opera and opéra comique.
It later came to be regarded as the first of a new type, opéra lyrique, but at the time it was thought by some to be a throwback to the operas of Gluck, written sixty or seventy years earlier.
After difficulties with the censor, who found the text politically suspect and too erotic, Sapho was given at the Paris Opéra at the Salle Le Peletier on 16 April 1851.
It was reviewed by Berlioz in his capacity as a music critic; he found some parts "extremely beautiful … the highest poetic level of drama", and others "hideous, unbearable, horrible".
It did not draw the public and closed after nine performances.
The opera received a single performance at the Royal Opera House in London later in the same year, with Viardot again in the title role.
The music received more praise than the libretto, and the performers received more than either, but The Morning Post recorded, "The opera, we regret to say, was received very coldly".

In April 1851 Gounod married Anna Zimmerman (1829–1907), daughter of his former piano professor at the Conservatoire.
The marriage led to a breach with Viardot; the Zimmermanns refused to have anything to do with her, for reasons that are not clear.
Gounod's biographer Steven Huebner refers to rumours about a liaison between the singer and composer, but adds that "the real story remains murky".
Gounod was appointed superintendent of instruction in singing to the communal schools in the city of Paris, and from 1852 to 1860 he was director of a prominent choral society, the Orphéon de la Ville de Paris.
He also frequently stood in for his elderly and often ill father-in-law, giving music lessons to private pupils.
One o
Gounod arrived home in Paris in May 1843. He took up a post, which his mother had helped to secure, as chapel master of the church of the Missions étrangères. For a winner of the Prix de Rome it was not a distinguished position. The organ of the church was poor, and the choir consisted of two basses, a tenor and a choirboy. To compound Gounod's difficulties, the regular congregation was hostile to his attempts to improve the music of the church. He expressed his views to a colleague:
It is high time the flag of liturgical art took the place occupied hitherto in our churches by that of profane melody. [Let us] banish all the romantic lollipops and saccharine piosities which have been ruining our taste for so long. Palestrina and Bach are the musical Fathers of the Church: our business is to prove ourselves loyal sons of theirs.
Despite his generally affable and compliant nature Gounod remained adamant; he gradually won his parishioners over, and served for most of the five-year term he had agreed to. 
During this period Gounod's religious feelings became increasingly strong. He was reunited with a childhood friend, now a priest, Charles Gay, and for a time he himself felt drawn to holy orders. In 1847 he began to study theology and philosophy at the seminary of St Sulpice, but before long his secular side asserted itself. Doubting his capacity for celibacy, he decided not to seek ordination and continued with his career as a musician. He later recalled:
The 1848 Revolution had just broken out when I left my job as musical director at the Église des Missions étrangères. I had done it for four and a half years and I had learnt a lot from it, but as far as my future career was concerned it had left me vegetating without any prospects. There's only one place where a composer can make a name for himself: the theatre.
The outset of Gounod's theatrical career was greatly helped by his reacquaintance with Pauline Viardot in Paris in 1849. Viardot, then at the peak of her fame, was able to secure for him a commission for a full-length opera. In this Gounod was exceptionally fortunate: a novice composer in the 1840s would usually, at the most, be asked to write a one-act curtain raiser. Gounod and his librettist, Emile Augier, created Sapho, drawing on Ancient Greek legend. It was intended as a departure from the three genres of opera then prevalent in Paris – Italian opera, grand opera and opéra comique. It later came to be regarded as the first of a new type, opéra lyrique, but at the time it was thought by some to be a throwback to the operas of Gluck, written sixty or seventy years earlier. After difficulties with the censor, who found the text politically suspect and too erotic, Sapho was given at the Paris Opéra at the Salle Le Peletier on 16 April 1851. It was reviewed by Berlioz in his capacity as a music critic; he found some parts "extremely beautiful … the highest poetic level of drama", and others "hideous, unbearable, horrible". It did not draw the public and closed after nine performances. The opera received a single performance at the Royal Opera House in London later in the same year, with Viardot again in the title role. The music received more praise than the libretto, and the performers received more than either, but The Morning Post recorded, "The opera, we regret to say, was received very coldly".
In April 1851 Gounod married Anna Zimmerman (1829–1907), daughter of his former piano professor at the Conservatoire. The marriage led to a breach with Viardot; the Zimmermanns refused to have anything to do with her, for reasons that are not clear. Gounod's biographer Steven Huebner refers to rumours about a liaison between the singer and composer, but adds that "the real story remains murky". Gounod was appointed superintendent of instruction in singing to the communal schools in the city of Paris, and from 1852 to 1860 he was director of a prominent choral society, the Orphéon de la Ville de Paris. He also frequently stood in for his elderly and often ill father-in-law, giving music lessons to private pupils. One o
Charles Gounod