An emir of Beyrouth (nothing in common with Baireuth!), is in love with an unknown maiden who appears to him in his sleep and tells him that she will belong to him if he finds her some tears that are the outcome of a truly suffering heart. These will then be turned into pearls which he can offer her. The emir pursues his quest far and wide without success, and finally himself bursts into tears which are suddenly transformed into pearls. The object of his thoughts then appears and tells him that he has found what she required, and that the tears produced by genuine love have won her as his own.
It can scarcely be said that the above story offers material of a particular interesting order. It has, however, been sufficient to furnish Bruneau with the opportunity of exercising his skill and displaying his fancy often to great advantage. Before taking leave of "Kérim" I may point out, for the benefit of those who might experience the curiosity of perusing this score, the monologue for tenor in the first act with its delightful accompaniment in canon, the effective treatment of some popular Oriental tunes, and specially the consistent working out of the representative themes. I must also mention the delicious "Adagietto," sung by the heroine in the last act, as an example of simple and pure melody.
There are certain legends that require a long time before they are dispelled, and the accusation that for a considerable while hung over the heads of Wagner and Berlioz of being deficient in melodic power, has been levelled against many other composers. Bruneau has not escaped it, but he may console himself with the thought that he is in very good company. It is I think Liszt who invented the excellent definition of a species of melody "à plusieurs étages," which it is not given to every one to grasp.
We now come to the work that has been instrumental in bringing the name of Bruneau to the front in a prominent manner. If "Le Rêve," which was first played at the Paris Opéra Comique in 1891, has given rise to much controversy, it has at any rate not been passed by in silence or damned with faint praise.
The mysticism and poetical charm of Zola's book, so different to the majority of novels by the apostle of realism, has caused it to be widely appreciated even in circles where his romances are not usually admitted. Bruneau's desire originally had been to write a "lyrical drama" upon "La Faute de l'abbé Mouret." It was only when he found that Massenet had chosen the same subject that he was forced to give up the idea and turn his attention to "Le Rêve." I am not aware whether Massenet has abandoned his intention of turning "La Faute de l'abbé Mouret" into an opera or not. Now that composers appear bent upon introducing realism into their music, it is not impossible that even "L'Assommoir" may eventually serve as the groundwork of an operatic textbook. We trust that this will not be so. However realistic musicians may strive to be, they should not associate their muse with themes that are not susceptible of being idealised.
The desire nowadays of musically photographing, if I may employ a somewhat far-fetched comparison, certain types of humanity is excellent in its way. But it is as well in so doing to choose a period remote from ours, where no sense of incongruity can be produced through the appearance of operatic characters clad in the prosaic garb of the present day. The general characteristics of humanity have always been the same, and Wagner, with his marvellous poetical insight, knew well what he was about when he drew the subjects of his "music dramas" from mythical sources.
In "Le Rêve" Bruneau has written a work remarkable in point of originality and sustained expression. His music must be either accepted in its entirety or rejected altogether. Upon those who appreciate its beauties it exercises an irresistible fascination. Bruneau is a psychologist, and he aims at musically describing the innermost feelings of the soul. He has also in "Le Rêve" proved himself to be an idealist.
I will in a few words endeavour to sketch the subject-matter of this admirable work.