Reviews — The New York Times

From the New York Times - July 8, 1894

A WEEK’S MUSICAL TOPICS
GOSSIP OF CONCERT HALL AND
OPERA HOUSE
Production of Massenet’s “La Navar-
raise” In London-The Short Opera
Achieves in Great Success

     Now that it seems almost certain that Mme. Calvé will not return to this country next season, it may cause all the more regret to learn that the new opera written for her by Jules Massenet has achieved a great success in London. The Times of that city speaks of it thus: “Short, sharp, and decisive” are terms applicable to the lyric episode in two acts produced at the Royal Opera, Covent Garden, last night. This work is manifestly due to the astonishing success of “Cavalleria Rusticana,” whose plot of passion, whose rapid action and depth of tragedy it emulates. The librettists, Messrs. Jules Claretie and H. Cain, have gone straight to the point of their `book.’ Opening amid the din of battle, the story never loses its grasp till the curtain falls upon a scene of death and distraction. All the elements of `sensation’ are here, and the nerves must be flaccid indeed which do not quiver as their hot breath blows upon them. It has been said that the authors have borrowed much from the Biblical narrative of Judith and Holofernes. If so, their act of appropriation was very frank and aboveboard. There could be no hope of concealing it, and probably they do not think an apology needed.
     “Much of the dialogue is set to recitative, and here the composer specially recognizes the importance of giving the drama free course. In moments of interest feeling, of piled-up agony, the orchestra has little to do, and the words are more nearly spoken than declaimed. the effect last night, with the leading parts in the hands of consummate artists, was immense, recalling that produced by the spoken dialogue in the dungeon scene of `Fidelio.’ But whenever circumstances allow the composer an opportunity of expanding his ideas with some approach of fullness he uses it judiciously.
     “The duet of the lovers when Araquil returns unharmed by battle is a case in point; so is that in which the lovers, eagerly taking the words out of each other’s mouths, tell Remigio in what manner they had first met, and how their affection had grown. So, too, is the dainty and delicate night music (Nocturne) - a marvel of refined orchestration - played as the troops slumber in the village street. These things throw around the tragic events a halo of pure and delightful art, which tempers their sternness and covers the havoc of passion with beauty, even as nature hastens to conceal with flowers and verdue the grim aspect of a battlefield.
     “Of M. Massenet’s melody it is scarcely needful to speak. Always instinct with right feeling, always such as the ear receives with pleasure, in this case the few themes which recur or are expanded seem as though nothing could replace them with any gain of effect. On the entire work, moreover, we discover the impress of sound judgement, the marks of prudent restraints which modern music so frequently lacks. M. Massenet has had the good fortune to see that the drama put into his hands needed little more than orchestral color and a few melodies, and he now enjoys the satisfaction of finding his name connected with an opera which cannot but succeed wherever produced.”

Last updated December 30, 2006