MASSENET.
Jules Émile Frédéric Massenet, a composer as yet but little known in this country, was born at Montaud, France, May 12, 1842. His musical education was obtained in the Paris Conservatory, in which between the years 1859 and 1863 he carried off two first prizes and one second. After leaving the Conservatory, he went to Italy for a time and pursued his studies in composition. On his return to Paris one of his operas, “La Grand Tante,” was produced at the Opéra Comique (1867) through the influence of Ambroise Thomas, and this performance called attention to the works of the rising young musician. In 1872 he brought out “Don Cæsar de Bazan,” an opéra comique in three acts, and in the following year incidental music to the tragedy “Les Erinnyes,” after Æschylus. Among his works written since that time are “Le Roi de Lahore” (1877); “Herodiade” (1882); “Manon” (1885); “Le Cid” (1885); the cantata “Paix et Liberté” (1867); “Marie Magdaleine” (1873); “Eve,” a mystery (1875); “La Vierge,” sacred legend; and “Narcisse,” antique idylle (1878). Among his orchestral works the best known are “Suites d’orchestre;” “Scenes Hongroises;” “Scenes Pittoresques;” “Scenes Dramatiques;” overture “Phèdre;” and “Pompeia,” fantasia-symphony. He has also written numerous songs and piano-forte pieces. His operas thus far have been his most successful works, though several of his large concert pieces have been very favorably received. He now occupies a position in the Paris Conservatory, and is regarded as one of the most promising members of the modern French school.
Mary Magdalen.
“Mary Magdalen” was written in 1873, and was first performed at the Odéon, Paris, in that year, with Mmes. Viardot and Vidal and MM. Bosquin and Petit in the solo parts. It is styled by its composer a sacred drama, and is divided into three acts, the first entitled “The Magdalen at the Fountain;” the second, “Jesus before the Magdalen;” the third, “Golgotha,” “The Magdalen at the Cross,” and “The Tomb of Jesus and the Resurrection;” the first two scenes in the last act being included in one tableau, and the third in another. The characters represented are Mary Magdalen, Martha, Jesus, and Judas, the chorus parts being assigned to the Disciples, Pharisees, Scribes, publicans, soldiers, servants, holy women, and people.
After a short introduction, pastoral in character, the work begins with a scene representing Mary at the fountain of Magdala near sunset, among women, publicans, Scribes, and Pharisees, strolling along the banks of the little stream that flows from it. The women sing a short chorus full of Oriental color anticipating the approach of the beautiful Nazarene. A group of young Magdalens pass along singing blithely of love and gay cavaliers (“C’est l’heure où conduisant de longues Caravanes”), and the song of the women blends with it. Next follows a chorus of the Scribes, discussing this Stranger, and pronouncing Him an impostor, and again the young Magdalens take up their strain. The second number is a pathetic aria by Mary (“O mes Sœurs”), which is full of tender beauty. The women shrink back from her and join in a taunting chorus (“La belle Pécheresse oublie”). Next, Judas appears upon the scene, and servilely saluting Mary counsels her to abandon sadness and return to love, in an aria which is a good illustration of irony in music. It is followed by a powerful and mocking chorus of women, Pharisees, and Scribes (“Vainement tu pleures”), in which she is taunted with her shame, despite her sad appeals for pity. The next scene is an aria and trio. Jesus appears in their midst, and in a calm impressive aria (“Vous qui flétrissez les Erreurs des autres”) rebukes them. Mary prostrates herself at His feet and implores pardon, and the scene closes with a trio for Jesus, Mary, and Judas, leading up to a strong concerted finale closing the act, in which Jesus bids the Magdalen rise and return to her home, whither He is about to repair.
The second act opens in the Magdalen’s house, which is richly decorated with flowers and redolent with perfume. It begins with a sensuous female chorus (“Le Seuil est paré de Fleurs rares”) followed by Martha’s admonition to the servants that He who is more powerful than earthly kings cares not for vain shows. The chorus resumes its song, and at its close Judas appears and a long dialogue follows in which Martha rebukes his hypocrisy. As he departs, Mary and Martha in a very graceful duet discourse of the Saviour’s coming, which is interrupted by His presence and invocation of blessing. After a duet between Jesus and Mary, in which He commends her to the Good Shepherd, the act closes with a powerful and very dramatic finale containing Jesus’ rebuke to Judas and His declaration of the coming betrayal, after which the Disciples join in a simple but very effective prayer (“Notre Père, loué soit Nom radieux”).
The third act is divided into two tableaux. In the first we have the scene of the crucifixion, the agitated choruses of the groups about the Cross, the mocking strains of the Pharisees bidding Him descend if He is the Master, the sorrowing song of Mary (“O Bien-aimé sous la sombre Couronne”), and the final tragedy. The second is devoted to the resurrection and apparition, which are treated very dramatically, closing with an exultant Easter hymn (“Christ est vivant, ressuscité”).
In the first two acts the music is full of rich Oriental color and is gracefully melodious and well adapted to the situation; but in the last act the awful solemnity of the tragedy is somewhat lost in the theatrical manner of its treatment. Indeed it was hardly necessary that the composer should have disclaimed the title of oratorio which some have assigned to the work. His division of it into acts and tableaux was sufficient to indicate that he had the stage in mind when he was writing; or at least that his scheme was operatic in style.
