Reviews — The New York Times

From the New York Times - January 7, 1897

“WERTHER” AT THE OPERA
Massenet’s Setting of the Bread
and Butter Story Given Once More.

     Massenet’s lugubrious opera, “Werther,” which has not been given here for two years, was brought forward last night at the Metropolitan Opera House. Its previous performance took place on April 19, 1894. The work was then about two years old, having been produced at Vienna on Feb. 16, 1892. That was not the first appearance in music of Goethe’s bread and butter hero. One Pugnani, musical director to the King of Sardinia, set it a century ago, and it was played in the Burg Theatre in Vienna in 1796. Pugnani’s composition was a dramatic symphony, and it is narrated that the composer once conducted a private performance of it in his shirt sleeves, and at the instant of Werther’s death drew a pistol and fired it. That was realism. Another composer, Blangini, wrote “Werther’s Swan Song,” and the real Charlotte, Frau von Kestner, went to Cassel and sat complacently through its performance. No doubt she enjoyed the advertisement.
      The opera performed last night is the story of a man who occupies a unique position. Jules Massenet has been a subject of much discussion in his own country, and he has made impressions elsewhere. He has been overpraised and too severely ridiculed. Perhaps the shortest and keenest criticism of him was that of the Frenchman who spoke of him as “Mlle. Wagner.” Yet it was not an adequate criticism, for although Massenet’s writing shows that he has studied Wagner to his profit, it is distinctively French in form and spirit. The French operatic school has always clung to the principles of dramatic art laid down by Lulli and developed by Rameau. It has never fallen into the evil habits of the Italians, and it is a result of national heredity rather than of Wagernism that M. Massenet writes in a broad fluent style, with constant respect for the dramatic content of his text.
     “Werther” is not a masterpiece because its range of passion is narrow and its characters are not of large mold. Werther is not an inspiring figure, and Charlotte is quite prosaic. The librettists of the opera have attempted to give her dramatic significance by making her love Werther. But she impresses one rather as an elegant sentimentalist than as a despairing woman. Werther himself is food for music, for he really is in love. It is a pity that he commits suicide. “Men have died and worms have eaten them, but not for love.” At any rate, it is hard to induce the world to take any man seriously who kills himself.
     “Werther” is a melodious opera, and it affords the impersonator of its principal personage - he cannot be called “hero” - abundant opportunity to sing well. The revival last night was interesting chiefly because it gave the public an opportunity to hear M. Jean de Reszke in a style of music wholly different from that in which he has achieved his recent brilliant success, and in one of those parts with which his earlier fame as the most graceful, elegant, and fervent of operatic lovers was associated. It was interesting, furthermore, because it brought into prominence Mme. Emma Eames, a singer who has not been sufficiently in the foreground of the current opera season. It is not the business of the critic to comment on the business policy of the impresario, but it is surely not wise to keep in the background the most intelligent and progressive woman singer in the company. There is some satisfaction, however, in knowing that Mme. Eames is to sing again on Friday evening. It is a pity that she cannot be heard in a new part some time.
      It is hardly necessary to say that M. Jean de Reszke is wholly satisfactory as Werther. The music is of the kind which he has for years sung better than any one else, and it was quite plain that his Wagnerian studies had improved rather than injured his delivery of it. Just as a master of Schumann’s songs can do better work for a chaminade chanson than one who has never known the “Dichterliebe,” so a Wagner artist improves his French rôles. M. de Reszke was never more ardent or more convincing as Werther than he was last night. Mme. Eames was an admirable Charlotte, and her rich Cremona-toned voice vibrated with warmer feeling than it did when it was last heard in this music.
     Miss Sophie Traubmann was not overburdened by the simple rôle of Sophie, while M. de Vries was equal to the demands of Albert, not a part of overwhelming difficulties. The other members of the cast were M. Castelmary as the Mayor, Signor Corsi as Schmidt, and Signor de Vaschette as Johann. Signor Marcinelli was the conductor, and his work was excellently done, as it always is in the French operas.

Last updated December 30, 2006