Copyright photo by Dupont
Farrar as Thaïs
Photo by White
Farrar and Amato as Thaïs and Athanaël
This subject, half mystic, half psychological, was it really a favourable one for theatrical action? Was it even treated in such a way as to mitigate the defects it might present in this connection? We may doubt it. Nevertheless M. Massenet has written on this libretto of "Thaïs" a score which, if it does not present the firm unity of those of "Manon" and of "Werther," certainly does not lack either inspiration or colour or originality and in which moreover are found in all their force and all their expansion the astonishing technical qualities of a master to whom nothing in his art is foreign. All the music of the first act, which shows us the retreat of the cenobites, is of a sober and severe colour, with which will be contrasted the movement and the gracefulness of the scene at the house of Nicias. There should be noted the peaceful chorus of monks, the entrance of Athanaël, the fine phrase which follows his dream: "Toi qui mis la pitié dans nos âmes," and the very curious effect of the scene where he goes away again from his companions to return to Alexandria. In the second act the kind of invocation placed in the mouth of the same Athanaël: "Voilà donc la terrible cité," written on a powerful rhythm, is followed by a charming quartette, a passage with an emphasis full of grace and the end of which especially is delightful. I would indicate again in this act the rapid and kindly dialogue of Nicias and of Thaïs: "Nous nous sommes aimés une longue semaine," which seems to conceal under its apparent indifference a sort of sting of melancholy. I pass over the air of Thaïs: "Dis-moi que je suis belle," an air of bravado solely destined to display the finish of a singer, to which I much prefer the whole scene that follows, which is only a long duet in which Athanaël tries to convert Thaïs. The severe and stern accents of the monk put in opposition to the raillery and the voluptuous outbreaks (buoyancy) of the courtesan produce a striking contrast which the composer has known how to place in relief with a rare felicity and a real power. The symphonic intermezzo which, under the name of "Méditation," separates this act from the following, is nothing but an adorable violin solo, supported by the harps and the development of which, on the taking up again of the first motif by the violin, brings about the entrance of an invisible chorus, the effect of which is purely exquisite. The curtain then rises on the scene in which Thaïs, who has put on a rough woollen dress, goes to seek the monk to flee with him. Here there is a duet in complete contrast with the preceding. Athanaël wants Thaïs to destroy and burn whatever may preserve the memory of her past. She obeys, demanding favour only for a little statue of Eros: "L'amour est un vertu rare." It is a sort of invocation to the purity of love, written, if one may say so, in a sentiment of chaste melancholy and entirely impressed with gracefulness and poetry. But what should be praised above all is the final scene, that of the death of Thaïs. This scene, truly pathetic and powerful, has been treated by the composer with a talent of the first order and an incontestable superiority. There again he knew wonderfully well how to seize the contrast between the pious thoughts of Thaïs, who at the moment of quitting life begins to perceive eternal happiness, and the powerless rage of Athanaël, who, devoured by an impious love, reveals to her, without her understanding or comprehending it, all the ardour of a passion that death alone can extinguish in him. The touching phrases of Thaïs, the despairing accents of Athanaël, interrupted by the desolate chants of the nuns, companions of the dying woman, provoke in the hearer a poignant and sincere emotion. That is one of the finest pages we owe to the pen of M. Massenet. We must point out especially the return of the beautiful violin phrase which constitutes the foundation of the intermezzo of the second act.
The work has been very well played by Mlle. Sybil Sanderson (Thaïs), M. Delmas (Athanaël), M. Alvarez (Nicias), Mmes. Héglon and Marcy, and M. Delpouget.