Bob’s
World of
J. Massenet

Reviews — The New York Times

From the New York Times January 28, 1913

MASSENET’S “MANON”
GIVEN AT THE OPERA
A Brilliant Performance of the
Work for the First Time
This Season.
MISS FARRAR THE HEROINE
A Charming Figure in the Part - Mr.
Caruso Effective as Des
Grieux.

Manon Lescaut                      Geraldine Farrar
Poussette                               Lenora Sparkes
Javotte                                   Jeanne Maubourg
Rosette                                   Marie Duchene
Des Grieux                             Enrico Caruso
Lescaut                                  Dinh Gilly
Le Comte des Grieux             Leon Rothier
Guillot                                    Albert Reiss
De Bretigny                            Andrea de Segurola
L’Hotelier                               Paolo Ananian
A Guard.                                Vincenzo Reschiglain
Conductor, Arturo Toscanini

     Massenet’s “Manon” came last evening to the Metropolitan Opera House to join in the repertory Puccini’s “Manon Lescaut” and to throw a somewhat different light upon the Abbé Prévost’s delectable story - certainly to make it more delectable to the operatic listeners. For the book that Messrs. Meilhac and Gille made for Massenet is in many respects more logical and coherent than the one that was provided for Puccini to set on the same subject. There was a large audience present. The performance last evening gave delight to the discriminating listener, not only because of the beauty of the finish, the verve and brilliancy and the color of the performance. And it may be said that really to appreciate “Manon” such a performance of it as Mr. Toscanini gives is a necessity. The crisp, fresh rhythms; the subtlety with which the melodic lines are drawn in it; the balance and finish of the orchestral playing, the vivacity and vigor of the ensembles, the entrain with which the whole is carried off, are what show the real characteristics of the opera, and they are what Mr. Toscanini’s master hand gives it.
     “Manon” remains the best and most spontaneous of all Massenet’s works; the one in which he came nearest to inspiration, and in which his genius seemed to move in a field most congenial to it. It is his most gracious and freshly melodic score, full of piquancy, lyric charm, except for a few rather blatant passages of fine musical workmanship, and it is not without its moments of real passion and tragic power. Nor did Massenet often lavish so much melody on the opera as he did on this. His great output in later years enforced economy upon him. Its tunes are often light, but they have character and real distinction, and, again dramatic significance. And it is music thoroughly in keeping with its subject and properly characterizing it.
     The same singers interpreted “Manon” as interpreted it last season. It affords an excellent opportunity for the employment of some of Miss Farrar’s most admirable powers as the representative of the heroine both in singing and in action; she is a bewitching figure in the part of Manon, which she represents with much grace and vivacity; and in the third act, where she returns to Des Grieux, she acted with an overflowing and importunate passion. Mr. Caruso’s Des Grieux has ardor and a deep-seated intensity, though no more in this than in many other parts does he embody elegance or give the touch of romance; and in his make-up he misses the period of the play should give him, for picturesqueness and distinction of appearance. He did much singing that was fine, but in his eloquent aria in the Seminary of St. Sulpice his voice in mezzo voce had not all its golden beauty. Mr. Gilly was in character and voice excellent as Lescaut, and Mr. Rothier acquitted himself of his short scene with success.
     The first scene of the third act, representing the Cour la Reine, is omitted, as it has been in the recent performances of the opera under Mr. Toscanini’s direction, which is a pity, for it means the sacrifice of some very pretty music, and of the key to the significance of the crucial scene in the Seminary of St. Sulpice, which follows.

Last updated December 30, 2006