Massenet also gives an account of the trying ordeal he underwent when playing through his score for the first time before the director and all the artists. He was admitted into an immense and luxuriously furnished room, capable of containing over 200 people. "All the artists," he relates, "were seated there, grouped in a charming but imposing ensemble. At my entrance they all got up and bowed. The director approached me and said a few amiable and too flattering words of welcome. All this was assuming the intimidating aspect of an official reception. I felt much moved. With the exception of my two old interpreters, Mdlle. Renard and Vandyck, I knew no one. Meanwhile the director led me to the piano, on the desk of which my yet unpublished score was placed, open at the first page. I sat down on the stool and was about to strike the first chord.... At this moment I must tell you an intense feeling of emotion came over me.... My heart was beating as if it would burst.... In one second, with a really painful intensity, I felt the vivid notion of the artistic responsibility which I was incurring.... What a terrible game I was about to play.... This score of 'Werther' was six years old.... I scarcely had it in my memory.... How many works by me had not been played since.... I was finding myself, alone, far from my country, representing by the force of circumstances French musical art.... On the other hand, I had full conscience of the undeserved honour that was being conferred on me.... Was I not in Vienna, the guest of the Emperor, invited at the expense of the State, and remembering that alone two masters before me—both above criticism—Verdi and Wagner, had been the objects of such a high and such a precious distinction?... All these thoughts suddenly came into my brain; tears rose to my eyes, and stupidly, like a weak woman, I began to weep. Then what kindness and delicate attention was shown all around me. 'Courage, courage,' was said to me from all sides. I made an immense effort, and still trembling with emotion I played through the entire score. This was in Vienna the first hearing of 'Werther.'"
In Goethe's sadly pathetic story, Massenet has found a subject eminently suited to the peculiar nature of his talent. The idyllic charm of the sad tale has inspired him to write pages full of poetry and refinement.
"Werther" was a distinct success in Vienna, and this success was repeated when the opera was produced in Paris at the Opéra Comique. Massenet has seemingly been desirous in this work of writing a "lyrical drama" rather than an ordinary opera. He has kept his music well within the bounds of a subject so simple yet so interesting and so human. We do not find set duets, choruses, or ensembles in this delicate and artistic score, and we need not regret their absence.
Long before Massenet's time, "Werther" had been set to music by Pugnani, musical director to the King of Sardinia. It was played at the Burg Theatre in Vienna in 1796. Pugnani's work was described as a symphony, which the composer sought to make as realistic as possible. On one occasion it was performed at Turin before a party of invited guests. Pugnani conducted in his shirt sleeves. At the moment when Werther dies, Pugnani pulled a pistol out of his pocket and fired it.
Blangini also wrote a cantata upon the same subject, which he entitled "Werther's Swan Song, half an hour before his death." At that time Werther's Lotte (Frau von Kestner) was still living in Hanover, and she journeyed to Cassel on purpose to hear Blangini's work.
A curious thing happened when Massenet's "Werther" was given at Weimar in 1892. Giessen, the Weimar tenor, was deputed to sing the title rôle. His real name happens to be Buff, and he is a grand-nephew of Lotte, whose name was also Buff. When the Weimar performance took place it was therefore discovered that Giessen had to make love to his own great-aunt. In the German version of the opera Goethe's text is faithfully followed. Both Lotte and Werther are drawn from life.
A few days after the first performance of "Werther" at Vienna a ballet, entitled "Le Carillon," by the same composer, to a scenario furnished by M. Van Dyck, was successfully produced upon the same boards. Massenet has another opera in readiness, which has not yet been presented to the public—"Thaïs," a lyrical drama in three acts, words by Louis Gallet.
The composer of "Werther" is an indefatigable worker, and being in the full force of his maturity, may yet be counted upon to further enrich the operatic répertoire. Concerning his powers of work the following story is related: The director of one of the French operas, in speaking with the composer, said, "My dear Master, give me the secret of your abnormal creative ability. Every day you listen to a crowd of singers, you attend every rehearsal, and, besides, you are professor at the Conservatoire. When do you find time to work?" "When you are asleep," replied Massenet, quickly. It is true that Massenet rises every day at five, and works incessantly until midday.