A year before the production of “La Vierge,” Massenet had given the French National Academy of Music his first great opera, “Le Roi de Lahore,” in five acts, the success of which was not at first evident. The public considered this beautiful music slightly cold, and instrumental rather than vocal. They said the composer had shown himself wanting in melody, and that he had sacrificed too much to his love for scientific combinations, although wild applause greeted a certain number of happily-conceived songs, among others the aria so splendidly rendered by Lassalle and which has always been honored with an encore.
It is only when great works are reproduced after a certain interval of time that we can determine whether they are really worthy a place in the musical repertory. The reproduction at the Opéra of the “Roi de Lahore” was a great success, and it has always been enthusiastically received in the principal theatres of Europe and America.
The Théâtre de la Monnaie, at Brussels, enjoyed the privilege of giving, in 1881, the first performance of Massenet’s second grand opera, “Hérodiade” in three acts and five tableaux. This time success was beyond all doubt, and from the first representation onward, the piece was received with enthusiasm. Whatever M. Massenet may hereafter give to the world, “Hérodiade” will undoubtedly remain one of the finest works that have originated in the fertile brain of this distinguished musician. Throughout the work the divine afflatus is maintained, and melody fills the auditorium. The opera is full of passion and sentiment, at once human and religious, just as in “Marie Madeleine.” It might be said that “Hérodiade” is the same sacred drama brought upon the stage, with this difference, that Madeleine becomes Salome, and Christ is transformed into John.
After “Hérodiade,” in Brussels, we had, in 1884, “Manon” at the Opéra Comique in Paris. Were I asked to make a definite choice between “Hérodiade” and “Manon” I should hesitate; but I should choose “Manon.” From the first to the last note the work is delightful. It is not less beautiful when softly sung at home to the accompaniment of the piano, than in the theatre, where our delight never for an instant moderates.
Following “Manon” in 1885, Massenet’s “Le Cid” in four acts, was performed at the Grand Opéra in Paris, and although reproduced several times, this work still maintains its place in the repertory.
In 1889, the indefatigable composer returned to the Opéra Comique with “Esclarmonde,” which drew crowds to this theatre during several months.
In the chronological order of the musician’s dramatic works, “Esclarmonde” is followed by “Le Mage,” a grand opera in four acts and six tableaux, the poem by M. Richepin, performed at the National Academy of Music in Paris. I have witnessed several renderings of this work, and have read the piano score. The more I have studied the opera the more am I impressed by its wonderful beauty. The individuality of the work, its passion and grace and delicacy, its originality as to form and harmony, are so numerous that it is unnecessary to criticise it more particularly.
All lovers of music know the extent of Massenet’s skill as a master of harmony. He is a master in the full meaning of the expression. It would be impossible for a musician to carry to a higher degree than he has done the complex art of orchestration or of counterpoint, so much honored of late years, though so often abused; or to have more happy facility as a harmonist. Were I to presume to criticise anything in the author of “Le Mage,” I should limit myself to mentioning his too clearly apparent striving after effect by means of fresh combinations of instruments. Massenet has too great a wealth of truly musical ideas for him to labor so hard for material effects. The true effects in music are produced by the thought, by the idea, apart from the application of the thought or idea to any special instrument. There is scarce any charm of emotion produced by music save through the musician’s imagination, that is, by the invention which results from the inward and profound emotion felt by the composer. Were it only necessary to be learned in any given art, only necessary to possess the power of cleverly combining notes and the tones of musical instruments, so as to produce fine musical works, every artist now living would write masterpieces; for, in truth, the study of technique has never been carried so far as it has been during the past twenty years. Technique is undoubtedly indispensable, but of itself it serves no purpose and is of no value, unless it be used as the exponent of the melodic conception which is the very soul of music.
M. Massenet has published seven suites for orchestra, which may be found in the repertory of every great musical society. To him we owe various scenes for chorus and orchestra: “Narcisse,” and “Biblis”; a symphonic poem entitled “Visions,” and a large number of fugitive melodies with pianoforte accompaniment. He has also completed the score of a ballet, “Le Carillon,” as yet unpublished.
