Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times February 4, 1909

MASSENET’S `MANON’
AT METROPOLITAN
Revival of a Charming Opera Not
Heard There for Ten
Years.
MISS FARRAR THE HEROINE
Her Impersonation One of Much Beauty
Mr. Caruso Acts Well as Des Grieux
Messrs. Scotti and Note Take Part.

Manon                                   Geraldine Farrar
Pousette                                 Rita Fornia
Javotte                                    Rosina Van Dyck
Rosette                                    Marie Mattfield
Des Grieux                              Enrico Caruso
Lescaut                                   Antonio Scotti
Comte des Grieux                    Jean Note
Bretigny                                   Bernard Segue
Guillot                                      Albert Reiss
Conductor Francesco Spetrino

     The fertile and fecund Massenet came again upon the operatic stage in New York when his delightful opera of “Manon” was revived at the Metropolitan Opera House, in French. The opera is by no means new to New York, or unfamiliar to operagoers of the last twenty-four years or so, for it was first given here once by one of Col. Mapleson’s Italian companies as long ago as 1885, with Minnie Hauk, Giannini, and Del Puente, and was produced at the Metropolitan Opera House in three different seasons. First, with Miss Sibyl Sanderson as heroine in 1893, then with Mme. Melba in 1896, Jean de Reszke being on both occasions the Des Grieux; and then again it was given in 1899 with Francis Savile as Manon and Ernst Van Dyck as Des Grieux.
     Two year ago Puccini’s opera, derived from the same vivacious tale of the Abbé Prévost, was given at the Metropolitan and repeated last season. The enticing figure of Manon Lescaut as drawn by him has been one of the most attractive in French literature ever since he created it. The story was one of the most popular ones of the eighteenth century. Her fascination is undeniable, notwithstanding her deplorable moral character and her wholly light-minded views of life. Massenet wrote his opera in 1884, Puccini wrote his nine years later.
     The subject seems to have inspired both to their best in the genre to which it belongs. Massenet’s setting is one of his most delicate and freshly melodious scores, full of piquancy, lyric charm, and fine musical workmanship. He has not often, lately at least, lavished so much melody in one opera as he has in this. He has filled it with most charming tunes, often light, but of character and point, and again of dramatic significance, and in some places of power.
     the music is thoroughly in keeping with the subject; and it sounds to-day fresher and more alive than that of most of the numerous operas he has created since; it is more spontaneous, less of the perfunctory sort that is required to furnish forth the annual opera of Massenet’s recent production.
     The book that Massenet used, by Meilhac and Gille, necessarily consists of scenes, more or less dismembered, from Prevost’s tale, but they are devised so as to make a reasonably connected dramatic act, where Manon by her fascination draws Des Grieux away from the Church is a strongly built climax for the two principal characters.
     It is an interesting libretto, as librettos go, and the authors have kept a certain dramatic movement and have suggested the history of the passion of the two lovers in a manner that keeps the listener’s attention upon the dramatic side of the opera. The music is not the whole of “Manon.”
     The Metropolitan management had provided for an admirable performance of the work, by the best forces at their command. Miss Farrar, who was the representative of Manon, was most charming in appearance, suggesting and more than suggesting the fascination of the Abbé Prévost’s heroine in her presence and her action, in which she showed forth the development of the naïve and ingenuous country girl to the seductive and commanding personality of the eighteenth century Parisian half-world.
     It was a well conceived piece of acting that she gave. There was much to commend in her singing and in the expression she gave to the music; yet the quality of her voice was not so beautiful as it has sometimes been, and she sang occasionally false to the pitch. Mr Caruso was the Des Grieux. He did in this part some of the best acting that he has put to his credit in his career in New York; for dramatic power and the illusion of the actor’s art have never been one of the strong points of Mr. Caruso’s doings on the operatic stage.
     The scene in the third act where he is beset by Manon’s temptation to renew his former life with her he carried through with strength and consistency. But Mr. Caruso’s singing last evening gave a new point to some serious questions that his admirers have felt in regard to his singing. No doubt the use of French hampered him somewhat, but there was not all the old golden beauty of his voice, nor the old freedom in the delivery of his tones, and in the command of vocal nuance.
     He too often feels impelled to use the fullest power of his lungs in order to make his effects, and this he did frequently last evening. Mr. Scotti as Lescaut gave a capital impersonation touched with humor, but he, too, was not in his best voice. Mr. Not‚ had not much of importance to do as the Comte des Grieux, but did it excellently.
     The scenic pictures, though they were not all new, were pleasing, and that of the fourth act showing the gambling house was brilliant. Mr. Spetrino, who conducted, treated the delicately colored score with a heavy hand, and the performance often missed the precision of ensemble that is necessary for its. effect.

Last updated December 29, 2006