Reviews — The New York Times

From the New York Times February 12, 1893

A WEEK’S MUSICAL TOPICS
NEWS AND GOSSIP OF OPERA
HOUSE AND CONCERT HALL.
ANNOUNCEMENTS OF THE MUSICAL SEA-
SON IN NEW YORK“ - WERTHER,”
JULES MASSENET’S LATEST OPERA,
FOUNDED ON GOETHE’S TALE-PRO-
DUCED AT THE OPRA COMIQUE.

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MASSENET’S NEW OPERA.

     Paris, Feb. 1. It is probably that, if Werther had married Charlotte, neither would have found their ideal; nevertheless, the story as given by Goethe represents the perfection of romantic love, even to our more callous heroines. It seems passing strange, then, that in an entire century no one ever thought of converting the romance into a lyric drama. There is no action, and the idea of platonic love ending in a tragedy did not entice the conventional moods of the physicians, it would seem.
     The poem, as imagined by Messrs. Milliet, Blau, and Georges Hartmann, is almost perfect in its intimate, concise form, without other incident than the pistol shot at the close of the opera. It was difficult to avoid monotony, and the only bright note in the sombre drama, played by three people, is the character of Sophie. In the opening scene before the house of the Bailli on the terrace, the children are gathered to learn the Christmas carols. The ringing laughter, the numerous false notes, and entire bars forgotten, all make up, with the grave sound of the violoncelli, a delicious and musical medley. When the two friends, Johann and Schmidt, come to remind them of the fête of the morrow, to which Charlotte has promised to go, Sophie bids them make haste and go, and they sing a drinking song to which the children unite their chant, and Werther enters just in time to see Charlotte cutting the legendary bread for her many sisters and brothers. The carriage bells soon mingle in the joy, and Charlotte leaves for the ball leaning on the arm of Werther.
     Sophie remains alone to receive Albert, the fiancé. He has come quickly by a crossroad to see his beloved sooner, but even then he comes too late. Tomorrow will bring happiness perchance, but tonight, as Sophie explains, he must be patient.
     At last, in the night, Charlotte and Werther return, and amid their flattering love phrases the father says, “Child it is late and Albert has returned.” She had forgotten his very existence, but recollection brings back a sense of duty, and Werther bids her be faithful to her promise - he must die. Thus ends act first. The music is delicate, sensual, full of grace and placid sweetness. The composer evidently sought to define, yet harmonize, the violence of sentiment of Charlotte; the latter never appears to lose her reason entirely. The music is melancholy and touching, but never passionate. The part where Charlotte speaks of her mother, of her little sisters, is particularly happy and impressive.
     In the second act we come to the public square in Walheim. As the peasants leave the church on this Sabbath morning they dance and sing. The drinking duet is much too long and far too noisy. Charlotte and Albert are here. They have been married three months, and the husband seems to be tenderly devoted to his wife. Werther, who has watched them from the distance, is overcome with emotion and grief, and as he falls upon a bench Albert comes toward him, leaving Charlotte in the church. They have a sort of explanation in which Werther assures his friend of his loyalty. This is serious music, but in contrast the young girl Sophie sings a joyful melody full of sunshine and gay mirth. This song, of course, met with instant recognition. Now Werther and Charlotte remain alone once more, and the former tells his despair, while the wife first bids him go, and then begs him to promise to come back with the next Christmas bells.
     On Christmas Eve we are in the home of Albert, and Charlotte has been told that Werther is near. Sophie begs her sister laugh and be merry; the morrow will be full of gladness, she says, while Charlotte seems to feel that some trouble is near. The character of Sophie is most unhappy in its influence, for after the song mentioned above - sure to find its way to every piano - Massenet has here again golden opportunities for delightful melody. The song of Charlotte, “Les Larmes qu’on ne Pleure pas,” will be sung by every amateur from pole to pole. It seems easy, and it is most difficult, but no one will bother about the sentiment. The appearance in this scene of Werther is a culminating point, both in a dramatic and musical sense, and the duet between Charlotte and the tenor is admirable. From this moment the decision of Werther is final - too unhappy to live, he must die.
     Albert means to kill him, and when Werther sends for the pistols his wife dares not refuse, but when the husband goes to his room Charlotte dashes out in the snow and in the dark night to find Werther dying in his home. As the Christmas songs fill the air Werther bids her farewell.
     Undoubtedly the lighter portions of the work are the best, and they assert particularly the usual methods of the French composer. It cannot be said the “Werther” is original, but it is certainly charming. When I say original, I mean that the composer has trusted to his own inspiration, quickly following the suggestions of the situation; in short, it is not a labored score. The opening scene is a gem in orchestral treatment, and I do not see that the noisiness of Esclarmonde has been remembered. All the first act is exquisite, the third one is full of sentiment and melody - the letter scene, for instance, in this act is perfect, and the scene where Werther finds his books, his clavecin, his home, is very effective. The musical score is full of tact, with a surprising appreciation of the situations given by the authors of the poem, and “Werther,” beyond all doubt, is one of the best of the Massenet scores. The last scene is a tragic one for the usual pleasant ideas of the Opéra Comique, but the name and prestige of M. Massenet could alone defy custom, and the musician felt sure of the value of his work, and he knew that the interest of the story, the simplicity and inspiration of the musical explanation, would force public enthusiasm.
     The interpretation is quite satisfactory. After considerable trouble the composer - who is not easy to please - found in M. Ibos the tenor suited to his idea of Werther. The part is most arduous, for not only must it be sung, but it demands acting of high order. The constant opposition of character and mood, the tessitura, and the great physical demand make up an ensemble trying to the best endeavor. The artist, however, has been happy in his efforts. His voice is warm and his declamation very firm and expressive, and he was entirely at home in the tender passages which might frequently tax a tenor better suited to the tragic scenes.
     Mlle. Delna is the singer so unexpectedly discovered by a painter in a suburban inn last Summer, in Meudon, I think. She looks the part to perfection; for she is rosy, not slight, Gretchen-like in fact. She appears and acts as if unconscious that a large audience faces her ingenuousness. She is perfectly, charmingly natural, and her voice is a marvelous one. It is full, rich in sound, equal throughout, and entirely under command, not from study, for the artist is uncultivated; nature has given a glorious gift, and no one has spoilt it as yet. She acts and sings with a simplicity as rare as it is beautiful. She first appeared in the “Troyens,” and Paris was wild with delight; then it was feared that she had been taught this much like a parrot, so that Charlotte is after all a revelation and a surprise.
     Mlle. Laisné is a pupil of the Conservatoire, one of the elect of last year. She is very young, graceful, and just suited to the laughing Sophie, the only merry one in the story - except the little children who begin and end the score with their Christmas songs. Mlle. Delna is eighteen; I believe that Mlle. Laisné is only a year or two older.
     Bouvet plays and sings the sacrificed part of Albert with absolute authority. He is a strong comedian and a rare singer.
     What more can be said of the orchestra of the Opera Comique? M. Danbé is so accustomed to praise that he constantly works harder, as if he alone understood how much more could be done. The instrumentation of M. Massenet is always composed of sudden, violent contrast. To the sweet, gentle tone of flute or harp comes thundering forth the trombone; the orchestra is so docile, so obedient to the master mind leading them on to musical victory, that the effort for comprehension is entirely lost and the public at least see only the admirable precision, that wonderful science of shading and modulation, so entirely distinctive to the orchestra of this theatre.
     In all the performances here one can enjoy a feeling of security, of utter contentment and peace of the musical mind. Whatever is to be done is done thoroughly and well, and always with grace and distinction not found in any other musical theatre in Paris, and still less elsewhere. For example, listen to the children’s chorus of the first act and of the last. What perfect single harmony of sound, and what exquisite modulation is obtained.
     M. Carvalho is the king of scenic effects, and he evidently cared for “Werther” with jealous solicitude. The fine tableaus are lovely pictures, and the grouping and the movements of the singers are varied in expression and novel in their combination. The German village scene is full of observation of local color; the interior scenes are perfect, and the larger snow effects could not be surpassed. The Opera Comique has produced with “Werther” one of the best of Massenet operas, and certainly the full season will not tire its attraction, even with the reserve - considering the special public of the theatre - of the sad ending of the story. “Werther” was given only yesterday in Brussels for the first time with great success, and Antwerp follows this week. Massenet does not rest on his laurels, however golden, green, and bright, for already news of another score comes from the Opera, where “Thaïs” is to be given next season.
                                                                                                                                  L.K.

Last updated December 30, 2006