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Reviews — The New York Times
From the New York Times - April 24, 1913
‘PANURGE’ PREMIER
A GREAT SUCCESS
Massenet’s Posthumous Opera,
on a Rabelaisian Theme,
Merry and Tuneful.
“GHOST DOES NOT APPEAR”
Melba in Concert, Delights An-
other Great Parisian
Audience.
PARIS, April 23, - Massenet’s posthumous opera “Panurge,” the libretto of which was adapted from Rabelais, was performed for the first time this afternoon at the Gaiété before a packed audience of the critics and the Paris artistic world generally.
The work is an entire departure from Massenet’s well-known style. It is gay music practically throughout, and perfectly suited to the Gargantuan humor of the story. The third act may also be called musical comedy. The only reminiscence of the late composer’s style is found in the intermezzo before the last act. That reminds one of “Thaïs,” is exceedingly catchy, and sure to become popular.
The opera was received most favorably. The baritone, Marcoux, achieved a great success as Panurge. The tenor, Martinelli, also gave a remarkable performance.
The “ghost” of the composer did not appear; it has not been seen since Monday, the date of the first private rehearsal.
Another notable musical event was this evening ’s concert at the Theatre Champs Elysées, where Melba sang for the first time in Paris in fifteen years. The announcement that she would sing filled the house to overflowing. No such enthusiasm has been witnessed in a Paris theatre since Caruso’s last appearance.
Despite a slight dullness in a few of her notes, the singer appeared to be still possessed of the great freshness and purity of tone that made her famous. She was best in the mad scene form “Hamlet”: she also sang excerpts from “La Bohème” and “Otello.” She had to respond to over a dozen calls before the audience consented to leave the house.
Last updated December 30, 2006