Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times December 7, 1909

GERALDINE FARRAR
AGAIN SINGS MANON
Brilliant Only in Some Parts of
the Role - Notably the
Gavotte.
MR. CLEMENT APPLAUDED
Gives the Song of the Maisonette Exquisitely - Mr. Podesti, Conductor,
Almost Drowns Out the Singers.

     Massenet’s admirable and thrice-charming “Manon,” which was brought back into the r‚pertoire of the Metropolitan Opera House last season after a lapse of some years, was again performed last evening at that theatre. In many respects it is the best of the prolific French composer’s works. In Paris it is the most popular, and there were evidences from the attitude of the audiences last night that it is likely to attain popularity here also.
     For some reason the Directors of the Metropolitan have seen fit to eliminate the “Cour la Reine” scene in the version presented at this theatre. This leaves the subsequent scene at St. Sulpice totally unexplained. it also removes from the score one of the most charming musical numbers - that which follows Manon’s entrance in a sedan chair and the ballet. The more or less celebrated “gavotte” has been transferred by this same process of rearrangement to the scene in the gambling house, where it does not belong, and where it only serves to interrupt the dramatic action.
     However, “Manon” is much too pretty to be spoiled by a few omissions and rearrangements in its music. There were other factors in last night’s performance, however, which contrived to work more serious injury to the opera. It should be evident enough by this time that Mr. Podesti should not be allowed to conduct works which require lightness of touch, grace, delicacy, or humor, in their playing. He waved his baton mercilessly last night, dragging some of the tempos so that they were scarcely recognizable, drowning out the singers so that they could scarcely be heard at times, and at all times furnishing a heavy accompaniment to the action on the stage.
     The cast was different in many respects from that which appeared in the opera last season, when Mr. Caruso and Mr. Scotti were heard. It doubtless was the desire of the management to put French singers into the rôles.
     Mr. Clement made his first appearance at the Metropolitan beyond two Sunday night concerts, in the rôle of Des Grieux. In Paris it is considered that he approaches the heights of this part, and it must be said that much of his singing in it entitles him to a plane of consideration much higher than his Werther.
     The song of the Maisonette in the second act was given exquisitely. Such singing is seldom heard at the Metropolitan nowadays. The phrasing, tone, and general finish approached perfection. In other parts of the opera he was less satisfactory. When he forces his tones, as he does in the more dramatic passages, his voice acquires a disagreeable tremolo and his use of falsetto is much too frequent to be pleasant to American ears. He evidently made a good impression on the audience, which applauded all his efforts.
     Mr. Dutilloy was wholly incompetent as Lescaut. the voice of the prompter was often heard on the stage when Mr. de Segurola was in sight.
     Miss Farrar again sang the part of Manon, some of it brilliantly, notably the gavotte; some of it very well, indeed, and other parts quite badly. Her intonation was none too perfect at the beginning, but by the time her adieu to the “Little Table,” was reached, she was more in control of her voice. In the St. Sulpice scene she again offended sensitive ears. The remainder of the cast was adequate. The settings were the same which were used last season.

Last updated December 29, 2006