Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times - January 17, 1901

“LE CID” AT THE OPERA
Massenet's Pictorial and Historical
Work Well Sung Last Night

     In spite of the fact that the appearance of a new singer or the interpretation of a new part by an old one is regarded as more important by the typical New York operagoer than the performance of a new or unfamiliar opera, the text of this discourse is the fact that at the Metropolitan Opera House last night, Massenet's “Le Cid” was revived. This work was first performed at the Metropolitan on Feb. 12, 1897. It did not achieve a large measure of success and was heard only a second time before the end of the season. Perhaps it will have better fortune this time. At any rate, it is brought forward sufficiently early in the Winter to admit of more than two performances, if the public manifests any desire for them. But it is pretty certain that whatever interest the revival of the opera excites will be due to the reappearance of Jean de Reszke in his original part. He, his stalwart brother, Edouard, and Mr. Plançon sang last night the rôles which they sang when the opera was first performed on any stage at the Paris Grand Opéra on Dec. 1, 1885, and which they sang 1897. This in itself was matter to arouse some public curiosity for last evening, and to it was added the fact that Miss Lucienne Bréval of the Grand Opéra was to make her first appearance in New York. But the treatment of operas as mere vehicles for the exploitation of operatic celebrities has never met with recognition in these columns. These singers are, or should be, interpreters. The creator is the author of the work, and to him must be given the first consideration.
     Unfortunately it is not possible after a renewal of acquaintance with this example of the modern French school of operatic composition to find any more ground for enthusiasm than was discovered when the thing was first made known. Here is a piece of frank theatricalism, as frank in its appeal to the unthinking and its employment of claptrap device and instrumental and vocal buncombe as anything that ever emanated from the crafty brain of Meyerbeer. In the cold light of afterthought, this warlike hero, who stands in the midst of glittering assemblies and makes the circumambient either throb with the thrilling vibration of his numerous high tones, is nothing but a conventional operatic figurehead. M. Jean de Reszke had little to do last night but pose in dazzling garments and declaim music to which his art lent a factitious dignity. Trumpets and high notes accompanied him wherever he went, and one's mind sometimes involuntarily reverted to the similar but mere imposing figure of Meyerbeer's John of Leyden. The Prophet has a dignity which the Cid lacks, and never did he for one instant, like this Spanish warrior, sink to the level of a mere foil to a ballet.
     The librettists of the opera, Adolphe D'Ennery, Leon Gallet, and Edouard Blau, have followed the story of Corneille's tragedy and have turned out a historical opera of the conventional type exemplified by such works as Spontini's “Ferdinand Cortez” and Meyerbeer's “L'Africaine.” Their work does not rest upon that firm psychologic foundation on which alone good opera music can be reared. It is hard to believe that Chimene forgives the slayer of her father simply for winning a great victory over the Moors. Her doing so robs her of our sympathy, destroys the desired dignity of her character, and detracts from our pleasure in the opera.
     As for the music, it is most pretentious and most deceptive to the fancy. It peals at us in wild screams of the warlike trumpets at every turn. It rages and it declaims and it struts in brazen fury across the temples of the ear. Yet always one suspects that the composer does not mean it all. He has not the accent of conviction. He strives not to tread the wide and blazoned avenue of Lully and the elders, but he wears not their robes as one to the manner born. He seems constantly to say to us “Si j'etais Roi,” but he never thunders the potent proclamation of royalty from the throne. Massenet always tries to be pretty in his music, and profundity is utterly foreign to his thought. Throughout “Le Cid” he strives for passionate and heroic speech, but all his labor ends in empty sound and fury.
     Delicate, velvety beauty one finds in some passages of this score, but never the soul-piercing note of true passion. The most inviting opportunities of incident and situation succeed in inspiring Massenet only to clatter in noisy commonplaces. The heroic character of the Cid and the incidents of the story make the score ring with the clanging of the brasses, but surely the most fascinating music in the opera is that of the ballet. Chimene's “Ne l'aimez vous, Madame” and the ensuing duet are graceful; the Infanta's “Plus de torments” is dainty and melodious, and the duet of Rodrigue and Chimene, in the third act, is after the composer's “Werther” style. Rodrigue's “O noble lame étincelante” has an effective accompaniment of harp chords and brass, but is in itself only empty declamatory phrases, while the “Mourir l'ennemi qui t'attend” of Chimene is commonplace recitative and aria. In the last act the trumpets blow and the flags wave, just as they did when we celebrated the return of Dewey.
     The production was creditable to the house. It is unnecessary to say that M. Jean de Reszke was quite equal to the demands of Rodrigue, a rôle for which he has a singular affection. He was an inspiring figure, and he declaimed with superb power. Don Diegue, the bass part, which was in the hands of Mr. Edouard de Reszke, is much more effective, at least in the earlier portion of the opera, and the audience was not slow to recognize that fact. it is not often that the big bass has such an opportunity to distinguish himself or to enlist the sympathy of his hearers. He made the best of his opportunities and was rewarded with abundant applause. Mr. Plançon was admirable as the Count de Gormas, but his existence in the opera was short. Mr. Sizes sang the comparatively unimportant rôle of the King in a tolerable manner.
     Miss Bréval made her American d‚but as Chimene. She was received with that generous cordiality which is bestowed on all new-comers on the local stage, and may be said to have achieved a conventional first-night success. Whether she will wear well with this sometimes fickle public is another question. She is an experienced artist, trained in a school in which all the methods of operatic routine are thoroughly known. It might be said of her prosaically that she knows her business. She is a woman of fine appearance, and her action and gesture are full of dignity. Her voice is a strong and rich soprano of the old-fashioned dramatic sort, and she sings as sopranos of that kind were wont to do in older days. The portamento is exaggerated - it is often a “scoop” - and the tremolo is considerably more than is desirable. She has, however, force and temperament. But Miss Bréval need not be dismissed after one hearing. She will sing for us again and again, and we may deliberate upon her traits at our leisure. Mme Melba, who was announced to be indisposed, sang the mellifluous measures of the gentle Infanta in those clear and flute-like tones which we all delight to hear though somewhat diminished, and the audience applauded her with warmth. The opera was well put on the stage, and Mr. Mancinelli conducted with authority.

Last updated December 29, 2006