Masters of French Music

by Arthur Hervey

In endeavouring to set Shakespeare's tragedy to music Ambroise Thomas undertook an almost impossible task, and it is scarcely surprising that he should not have been absolutely successful. It would require the genius of a Wagner to give an adequate musical rendering of a work so deep and philosophical, and the Bayreuth master took care not to attempt it. Then again the peculiar nature of Ambroise Thomas's talent would appear to be absolutely unsuited to the musical interpretation of a tragedy of this description.

In judging the operatic version of "Hamlet," the fact must be borne in mind that this was written for the Paris Opera, and subjected to the exigencies of that institution, which were then far more stringent than at the present time, when Wagner has at last been admitted into the stronghold, "Lohengrin" forms part of the regular répertoire, and the "Walküre" draws large audiences. Amongst these exigencies must be specially mentioned the introduction of a "ballet" towards the middle of an opera, whatever its subject. Wagner's refusal to conform to this practice had not a little to do with the failure of "Tannhäuser" at the Paris Opera in 1861.

The French are ever priding themselves upon their superiority to the rest of the world in all matters theatrical. They are nevertheless prepared to accept the most glaring inconsistencies in the matter of operatic "libretti." What, for instance, can be more incongruous than the introduction of a set ballet in a tragedy like "Hamlet"? This can almost be placed on a similar level of absurdity as the mazourka introduced by Gounod in his "Polyeucte," the action of which takes place during the time of the early Christian martyrs, or as the Scotch ballet supposed to be performed at Richmond in Saint-Saëns' "Henry VIII."

Curiously enough, the most successful portion of Ambroise Thomas's "Hamlet" turns out to be precisely this ballet act, during which all the choregraphic resources of the Paris Opera House are called into play. In order to render justice to this work it is necessary to try and forget Shakespeare as much as possible and look upon it in a purely operatic light, when much will be found that can be unreservedly admired. The melodies are refined, and a certain poetical tinge, peculiar to the composer, pervades its pages, whilst the instrumentation is altogether of great excellence. In this last branch Ambroise Thomas has ever shown himself highly proficient, and I do not think that the following remarks of Mons. Lavoix[10] are unmerited: "Mons. Ambroise Thomas' orchestration is clear in its general design, spirituel and ingenious in its details, always interesting and full of poetical touches and of pleasant surprises."

The original interpretation of "Hamlet" had much to do with the success that attended it, and the parts of Ophelia and Hamlet found unrivalled exponents in Mme. Christine Nilsson and Mons. Faure. During the rehearsals, in order to be free from interruption, Ambroise Thomas transferred his abode to the Opera House itself, where he was allotted a room and kept a strict prisoner by the manager, with his piano and a goodly assortment of cigars to keep him company, for the composer of "Hamlet" has always been an inveterate smoker. On the night following the first representation he was re-accorded his liberty, and being asked to make a few alterations in his score, plaintively remarked that he thought "his two months were over."

At this period Ambroise Thomas was one of the lions of the day, and a favourite at the Court of Napoleon III. His presence at the sumptuous entertainments given by the Emperor at the palace of Compiègne will be remembered by many who profited by the Imperial hospitality. Every autumn the beautiful château was used to entertain series of visitors, and all the notabilities of Paris were bidden thither as the Emperor's guests. How some of these requited his hospitality later on, when trouble had gathered about his head, is unhappily a matter of history.

Ambroise Thomas had now reached the apogee of his fame, and this was to receive its final consecration when he was called upon to succeed the veteran Auber, whose last days were embitterred, and possibly shortened, by the misfortunes that had befallen his country and disturbed his essentially pacific habits, as director of the Paris Conservatoire. This office he has continued to hold until the present day.

Since then his dramatic compositions have been few and far between, and if we except "Gille et Gillotin," a one-act trifle written many years previously, and played at the Opéra Comique in 1874, have consisted of "Françoise de Rimini," a grand opera in five acts produced at the Opéra in 1882, and "La Tempête," a ballet given at the same theatre in 1889. These works have maintained their composer's reputation, without, however, in any material way adding to it.

In examining the compositions of Ambroise Thomas it is impossible to avoid being struck by the eclecticism that pervades them all.

The composer of "Mignon" is not one of those great leaders of musical thought whose individuality becomes stamped in an indelible fashion upon the art products of their period. He has been content to follow at a respectful distance the evolution that has gradually been effected in the "lyrical drama," taking care to avoid compromising himself through a too marked disregard of recognised traditions. Hence the presence of much needless ornamentation and countless florid passages, introduced obviously in order to show off the singer's voice, that cause many of his works to appear old-fashioned.