Reviews — The New York Times

From the New York Times - December 24, 1885

AMUSEMENTS
ITALIAN OPERA

     The production of a new opera by a composer of repute is not an incident that should be dismissed with the brevity usually forced upon writers by late hours and, in some instances, by the added disadvantage of a single hearing. It often happens that opportunities of listening to portions of the unfamiliar music are afforded the public, or at least painstaking minority of that body, and it occurs semi-occasionally that performances terminate in fairly good season. The reviewers were not fortunate in either respect last evening, for “Manon,” which was then given at the Academy of Music for the first time, was completely unknown to local audiences, it had had but imperfect rehearsals, that neither invited nor repaid attention, and its presentation finished, on the occasion under notice, close upon midnight. Under the circumstances the subject must be treated with some diffidence, the sense of uncertainty as to the merits of M. Massenet’s achievement being heightened, moreover, by acquaintance with the fact that, notwithstanding the unsatisfactory effect wrought by “Manon” yesterday, the opera had a long run in Paris, and was recently sung with decided success in several parts of the Continent. Should Mr. Mapleson enter upon a fresh series of representations there will of course be a chance of listening to “Manon” once more, and a second rendering of the work may reveal unperceived beauties and excellences. Meanwhile, it must be conceded that its first impression is disappointing, and particularly so to persons that have not already discovered the weakness of M. Massenet’s music. Whatever may be thought and written of M. Massenet in France, European critics and dilettanti are pretty well agreed as to his rank among modern musicians. He is simply a writer of talent, ingenious and somewhat imitative, and a master of the science of instrumentation. Nothing that he has done thus far offers evidence of vitality, and his most remunerative opera - “Le Roi de Lahore” - owed its vogue in the French capital and in Italy to the baritone Lassalle’s portrayal of Scindia, to a pretty arioso, which the same artist sang so exquisitely that to hear it was to be repaid for four hours’ tedium, and to the adaptation of the libretto to an unlimited display of stage costume. “Herodiade” is only remembered by a romance and the music to “Les Erinnyes,” played here a week ago, appears to be of a conventional type. That “Manon” may be found more interesting on more intimate acquaintance has been said already; last night it proved the reverse of inspiriting. The story upon which the libretto rests is not calculated to quicken a composer’s inspiration, however popular the parent book may have been, many years ago, in France. The librettists have taken many liberties with the novel but the outline of the Abbé Provost’s narrative remains, and its leading characters disport themselves through the drama until its final scene is reached. Summarily told, the plot of “Manon” turns on the infatuation of Chevalier des Grieux for Manon, a rustic maiden with aspirations toward wealth and notoriety; on the violent separation of the couple by the chevalier’s father; on Manon’s acceptance of the attentions of de Bretigny, an aged roué; on her brief reunion to des Grieux the couple’s happiness being disturbed, this time, by the machinations of a cruel kinsman and on the death of the heroine in des Grieux’s arms. There is not much action in this story, nor are the characters specially attractive, and it may fairly be supposed that the memory of the Abbé Provost’s book helps the opera considerably when it is given abroad. M. Massenet’s score discloses the musician’s familiar qualities and his no less familiar deficiencies. Foremost among the latter is, as hinted, a total lack of inspiration or creative power, and conspicuous among the former is his great command of the orchestra. Whether the French composer is an admirer of Wagner or not matter little; he certainly reveals a tendency to use the leading motives generally identified with Wagnerian works, many of his themes bear a distinct resemblance to the Wagnerian melos, and his treatment of the instruments is, as to broad and glowing progressions and alternately sweet and vigorous harmonies, that haunt the ear while defying mental reproduction, plainly indicative of the influence of German art. Unhappily M. Massenet’s ability to follow in the footsteps of others does not endow him with originality or with the cleverness that conveys pleasure, even when the pleasure is not lasting. There are beautiful phrases in “Manon,” fragmentary melodies, that end almost as soon as begun, dainty accompaniments, and suave harmonies, but there are not a dozen bars in the whole work that would move a critical audience to enthusiasm. Some parts of the opera, last evening, were deservedly applauded, but rather, we fancy, because they contrasted sharply with the surrounding dullness than because of their intrinsic charm. Among these should be enumerated Manon’s first measures - an exquisitely accompanied piece, half cantabile half recitative - her soliloquy, in the same act, passages of her first duet with des Grieux, a delicate racconto assigned to the Chevalier in the second act, a broad and impassioned duet between des Grieux and Manon in act the third, and the lively finale of the fourth act. It is proper to observe, however, that M. Massenet’s opera is constructed musically on the plan of the period, and that the continuous flow of the music precludes the possibility of detaching, with good results, any number from the context. The instrumentation, as mentioned, is admirable, though the tone-color of the score is somewhat sombre and much of the orchestration unduly heavy. The honors of the performance were borne off by Signor Giannini, whose singing of des Grieux’s numbers more than once roused his hearers to manifestations of delight. Mme. Minnie Hauk was an efficient Manon, and Signor del Puente a no less efficient Lescaut.

Last updated December 29, 2006