Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times - February 20, 1902

“LE CID” AT THE OPERA
Massenet's Opera Given for the First
Time This Season

     The trumpet has always been associated with war. We read of the pealing of the Roman trumpet, and no doubt the earliest warriors used the natural horns of animals, even the ox horn in G flat, so important in the score of “Die Meistersinger.” In music, at any rate, the trumpet has been employed as a representative of combat since first the composer conceived the idea of imitating externals. Of course the employment of the trumpet in this manner in the early operas was one of those pieces of theatrical realism so dear to the unimaginative mind. The kettle drums were in the early time always associated with the trumpet in the performance of martial music, but in later days we have learned to add the snare drum and the cymbals.
     These remarks are called forth by the performance of Massenet's “Le Cid,” which was given at the Metropolitan Opera House last night for the first time this season. Every one who has read Spanish history knows that the Cid was the great romantic warrior of Spain. Around his name cluster many of the poetic traditions of early warfare in the land which has of late been less fortunate in its heroes. Just exactly why Mr. Massenet, composer of “Manon,” and “Werther,” should have gone afield in search of a martial hero, no one can tell. But, having found one, he might at least have chosen a more convincing story than that which is told in this opera. We are asked to believe that a young woman who loves a man will forgive him for killing her father, because the young man has won a great victory, and is acclaimed by the people. It may be all true, but she was not much of a girl.
     The Cid himself is in this opera a mere theatrical puppet, flung into the centre of stage pictures and situations which have no genuine dramatic value. But he is a warrior and he has his trumpets always with him. They fill the circumambent ether with their clangor and most of the other instruments in the orchestra scream in despair at their inability to make themselves heard. It is all very brilliant and very loud. Furthermore, the Cid has enough high notes to equip a tenor fitting for the civil service examination at Buenos Ayres, where no tenor who cannot sing eighteen A's, twelve B flats, and three high C's in one performance can pass, and no Germans need apply.
     There is some pretty music in “Le Cid,” but nothing that impresses one with its sincerity. It is all hollow and reverberating. The world is filled with sounding brass and tinkling cymbals. But how the tenors love to sing the title rôle! Even Jean de Reszke, who was the original interpreter of the part when the work was produced at the Grand Opéra, never lost his fondness for it. However,the opera was not brought forward last night for the sake of the tenor, but for that of the soprano. Miss Lucienne Breval, who was here last Winter, and who aroused a languid interest among the boxholders by her grandiose posing, came forward for the first time this season as the heroine, Chimene.
     It was not possible to note any significant difference in Miss Breval's impersonation. Her voice is just as big and just as hard and just as tremulous as it was when she did us the honor to visit us before. She sings still with great vigor and with an energetic tremolo. There is much force but little refinement in her art. She continues to pose with sweeping gestures and to agonize laboriously. Miss Breval is highly popular in Paris, and she receives a very large salary here.
     Mr. Alvarez was sadly out of tune last night in the first act, but later in the evening he found the pitch and sang better. The rôle of Rodrigue is well suited to his declamatory style, and he is acceptable in it. But he makes one long for a little more polish in his art. Mr. Edouard de Reszke repeated his dignified and earnest interpretation of Don Diegue, and Mr. Journet was excellent as the Count de Gormas, who is mercifully sent to glory early in the proceedings. Mr. Gilibert lent the value of his skilled art to the small part of the King. Miss Adams sang the music of the Infanta charmingly. The orchestra played well, and the ballet music, the best music in the opera, was heard with pleasure. The ballet was well danced, and called forth well-merited applause. Mr. Flon conducted.
     The audience was one of the smallest of the season. This public is not exigent in its operatic demands, but it knows what it does not like, and “Le Cid” is one of the things it declines without thanks. Even the presence of Miss Breval, with her statuesque appearance, cannot make the opera popular. To-night Mr. Paderewski's opera “Manru,” will be performed for the second time.

Last updated December 29, 2006