Reviews — The New York Times

From the New York Times January 15, 1899

MUSIC HEARD YESTERDAY
“Romeo et Juliette” at the Matinee
and “Manon” in the Evening
at the Opera.

     The usual two performances of opera at the Metropolitan Opera House yesterday were devoted to works of the charming and graceful French school. In the afternoon Gounod’s “Romeo et Juliette” was brought forward once more, and the fourth Juliet in Mr. Grau’s array of six was heard. This was the lovely Juliet of the first season under the present régime, Mme. Emma Eames. She had not been heard previously this season in the part, and naturally her admirers, whose name is legion, were out in force. The cast in general was a strong one, and the result was that the audience was one of those now regarded as typical on Saturday afternoons. Mme. Eames has nothing to fear from the comparison of her beauty with that of the other five Juliets. She is a most entrancing vision. She was in good voice yesterday afternoon, and that is as good as saying that she sang the music beautifully, although the railing of the balcony did momentarily threaten to give way before her. M. Jean de Reszke was the Romeo, M. Edouard de Reszke the Frere Laurence, M. Plaçnon the Capulet, and M. Albers the Mercutio. With such an assembly of artists in the important parts, it was a matter of course that the ??? music was admirably sung. The famous Romeo was in excellent voice, and he aroused the enthusiasm of the audience in his principal numbers.
     Massenet’s “Manon” had not been heard before last night for several seasons. It was originally heard here in the course of the season when Sibyl Sanderson made her unfortunate venture in her native land. She had her d‚but in the title rôle, M. Jean de Reszke singing the Des Grieux. The work was given once in a subsequent season with Mme. Melba as Manon. Last night it was brought forward with Mme. Frances Savile as Manon and Mr. Ernst Van Dyck as the Chevalier. The audience was one of fair size, but not as large as the occasion seemed to demand. “Manon” is by no means a profound work, but it contains a great deal of graceful, melodious, and fascinating music. It is probable that if the New York public were more familiar with “Manon,” it would wish to hear the work oftener. It is decidedly worthy of more frequent performance.
     It was very agreeable done last night. Mr. Van Dyck’s reputation as an actor is already established here, and it was confidently expected that he would act the Chevalier des Grieux well. In this he did not disappoint, but more than fulfilled expectations. Two such performances as his Loge and his Des Grieux within three days stamp him as an actor of varied powers far beyond those unusually exhibited on the operatic stage. He is thoroughly acquainted with the technic of histrionic art, and he imbues his work with a fervor and a poetic grace which go far toward atoning for the faults of his singing. In the sentimental comedy of the earlier scenes last night he was simply delightful. In the more passionate episodes his vocal defects marred the general influence of his performance, which was fervid and full of plastic beauty. Des Grieux has been much better sung here, but never so well acted.
     Mme. Saville’s Manon was a pretty performance, and was deficient chiefly in its pathos. But her voice is well suited to the music, and, except for occasional flatness, she sang credibly. She sang very well, indeed. M. Albers was in very poor voice after his labors at the matinée, and he did not sing with his usual lovely quality of tone. But his performance of Lescaut was in other respects commendable. M. Dufriche was very amusing as Guillot, and M. Plançon did his little bit as Le Comte des Grieux as well as need be. The other members of the cast were M. Bars as De Bretigny; Mme. Djella, as Rosette; Miss Roudez, as Pousette, and Miss Meisslinger as Javotte.

Last updated December 30, 2006