"In the other, it appears only in certain places: if the vocal portion is melodious, the accompaniment is rudimentary and the traditional recitative endlessly intervening in the middle of the music in order to divide it into set forms, arbitrarily condemns melody to submit to wretched formulas and snatches away its wings."
In the course of the same article, Bruneau expresses himself thus:
"These are, however, terms imagined rather for the purpose of defending certain ideas than for designating certain works, as there exist in the classical form of opera masterpieces worthy of eternal and fervent admiration. One does not necessarily run down works such as 'Don Juan,' 'Fidelio,' 'Iphigénie,' and so many others in desiring the rejuvenescence of an art that owes to these masterpieces its imperishable glory.
"After Gluck, Mozart, Beethoven, Wagner, fresh innovators will come, who, respectful of the traditions of the past and eager for the conquests of the future, will still further enlarge the field of action of the musical drama."
The above words may be taken in a measure as furnishing Bruneau's profession of faith as regards matters operatic. He has finished the score of a new "lyrical drama" entitled "L'Attaque du Moulin," founded upon a tale of Zola, which at the time I am writing has not yet been performed. It is to be produced shortly at the Paris Opéra Comique Theatre.
I must not fail to allude to Bruneau's characteristic settings of Catulle Mendès' "Lieds de France," which are distinguished by an evidently studied simplicity of expression.
Unless I am mistaken, it was the late Victor Wilder, his predecessor on the Gil Blas who once alluded to the composer of "Le Rêve" as "the standard-bearer of the young French school," a qualification to which he is, in my humble estimation, well entitled.
NOTE.—Since this volume has gone to press, "L'Attaque du Moulin" has been produced at the Paris Opéra Comique, with great success.