Reviews — The New York Times

From the New York Times - December 12, 1897

Massenet’s New Opera

     Massenet’s new opera, “Sapho,” which was produced Saturday at the Opéra Comique, was a fair, but not an unqualified success. The novel from which it was drawn is the most delicately analytical of all that have proceeded from the master-pen of Alphonse Daudet, and for the same reason that the dramatic adaption was not an absolute success - namely, the poverty of action - the musical setting did not prove entirely satisfactory.
    It was curious to observe how M. Massenet would differentiate the characters of Manon and Sapho. Manon, the bright frolicsome, witty, eighteenth-century coquette suited this composer’s talent to perfection. Sapho, too, is a coquette, but there is the shadow of this fin-de-siècle upon her, with its world-weariness and pessimism. There is a latent tragedy in her every movement; her vivacity has its origin in morphine, and the spell which she exercises over Jean Gaussin is that of an intoxicating drug.
     M. Massenet’s music is certainly very successful in presenting the various phases of an eminently womanly temperament, but it is perhaps too consistently superficial in its effect. There is no lack of color; the melodies are bright and animated, but at times when one looks for a note of seriousness of deep and tragic emotion, it is disappointedly lacking.
     The second act, when Gaussin, who is not yet under the complete domination of Sapho, calls up old souvenirs in a duet with her cousin Irène, is perfectly charming. The duet which follows it between Sapho and her lover is superb, and shows M. Massenet in his most masterly and successful mood.
     Interest in the work flags in the third act, disfigured by long declamations on the part of Sapho, which leave the audience indifferent, and though, of course, the whole work is a production of a very high order there is little more that is deserving of special praise except, perhaps, the prelude in the fifth act.
     Mme. Calvé sang divinely in the rôle of Sapho, and to her the success of the first performance must be largely attributed.
     I hear that M. Massenet means to write only two more operas.

Last updated December 30, 2006