Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times March 31, 1912

MASSENET’S ‘MANON’
AT METROPOLITAN
Revival of a Charming Opera
Not Heard There for
Two Years.
MISS FARRAR THE HEROINE
Mr. Caruso’s Fine Singing as Des
Grieux - A File Performance
Under Toscanini.

Manon Lescaut                      Geraldine Farrar
Pousette                                 Lenora Sparkes
Javotte                                   Jeanne Maubourg
Rosette                                   Maria Duchene
Des Grieux                             Enrico Caruso
Lescaut                                  Dinh Gilly
Le Comte des Grieux             Leon Rothier
Guillot                                    Albert Reiss
De Bretigny                            Andrea de Segurola
A Hotelier                              Paolo Ananian
Deux Gardes                         Vincenzo Reschiglian, Bernard Begue
Conductor Arturo Toscanini

     For the first time in two seasons Massenet’s “Manon,” was revived yesterday afternoon at the Metropolitan Opera House. It gave musical delight to the discriminating listener, not only because of the beauty of the piece itself, but as well because of the exquisite finish, the verve and brilliancy of the performance. And it may be said that really to appreciate “Manon” a performance of such quality is necessary; it almost seemed as if for the first time Mr. Toscanini showed what there really is in the opera and what can be made of it. The performance had all the charm, delicacy of outline, of shading and color, of a picture by Nattier. The crisp, fresh rhythm, the subtlety with which the melodic lines were drawn, the exact balance and finish of the orchestral playing, the vivacity and vigor of the ensembles, the entrain with which the whole was carried off, revealed the master hand of Mr. Toscanini in every measure.
     “Manon” remains the best, the most spontaneous opera that Massenet has achieved; the one in which he has come the nearest to inspiration. It is his most gracious and freshly melodious score, full of piquancy, lyric charm, and fine musical workmanship, and is not without its moments of real passion and tragic suggestion. He has not often lavished so much melody on one opera as he has on this. He has filled it with charming tunes often light, but of character and real distinction, and again of dramatic significance. The music is thoroughly in keeping with the subject, and it sounds to-day fresher and more vital than most of the numerous operas he has put forth since; for “Manon” dates from 1884.
     Miss Farrar, Mr. Caruso, and Mr. Reiss were members of the cast in the production made three years ago, Miss Farrar’s Manon has been a familiar figure for several seasons, and is one of her most successful impersonations, both in song and in action. Mr. Caruso’s singing of the music of Des Grieux was beautiful, having many of his best qualities, especially as he does not often have occasion to force the note of passion. He uses the falsetto voice more in this than he does in most of his parts, but he does it with remarkable skill. His presence and action lack something of the distinction of the eighteenth century gentleman, but his performance was not lacking in dramatic power. Mr. Gilly’s Lescaut was in many ways good; it did not have quite the humor and bonhomie that have been put into this part in the past. The minor characters were very well represented.
     In recent performances of “Manon” at the Metropolitan the first scene of the Cour la Reine, in Paris, has been omitted; and it was admitted yesterday a pity, for music and also of the key to the significance of the following scene in the Seminary of St. Sulpice.
     The audience was the large audiences of a Saturday matinée, and indicated much pleasure in the revival of “Manon.”

Last updated December 30, 2006