But let it not be supposed that the triumphal career of “Faust” was not confronted at the outset with difficulties and obstacles which appeared insurmountable. When it was carried by the authors to the Théâtre-Lyrique, there was in preparation at the Porte Saint Martin theatre another drama built on Goethe’s poem, and bearing the same name. M. Carvalho told Gounod that it would be necessary to await the result of the “Faust” at the Porte Saint Martin, for if that work won a success, it would be very difficult and very hazardous to offer another “Faust” to the public. So they waited, and the drama not proving a success, it was decided to proceed with the study of the opera. Gounod’s “Faust” was presented in the form styled in France Opéra Comique, that is to say, the singing parts being interspersed with spoken dialogue. (It was not until later when “Faust” passed into the repertoire of the Opéra that this dialogue was replaced by recitatives.) The rôle of Marguerite was first given to Mme. Ugalde, but Mme. Carvalho having expressed a desire to take the rôle, after becoming acquainted with the music, the authors transferred it to her and consoled Mme. Ugalde by giving her the part of Mélodine in Victor Massé’s opera, “La Fée Carabosse,” which was being mounted at the same time. The rehearsals of “Faust” were very laborious. M. Carvalho, disconcerted by the new and daring character of the music, and by the poetic sentiment revealed in it, which he judged incompatible with stage requirements, picked a quarrel with the composer, declared his score too much developed, and constantly demanded new cuts and changes. Gounod, made uneasy by this lack of confidence, had yielded to several of these demands and had already consented to several suppressions, when at last M. Carvalho came to him one day with a proposition to suppress the beautiful final scene in the garden, fearing that this quiet scene, with no outburst or noise of any kind, would seem cold to the public and fail to produce an effect. This time Gounod, who had faith in his work and was conscious of its value, stood fast and immovable, declaring he would rather withdraw his score than to yield this point and consent to such a sacrifice. In short, after a whole series of combats and discussions of this sort, which were renewed daily, the work was finally brought out. Truth compels the confession that it was not fully understood at first; that the critics stood hesitating and undecided in the presence of a work so new in form, and that the public itself was of two minds regarding the value of the work, some applauding with enthusiasm while others harshly criticised. It is certain that the first reception was more cold and reserved than could have been desired, but gradually people began to understand and appreciate the beauties abounding in this exquisite score, and at last its success was complete, brilliant and incontestable, spreading first throughout France, then over Europe, then over the entire world, where “Faust” is to-day, and long has been, considered a great masterpiece, and its author’s best work. “Faust” has been played in all countries and translated into all languages. It is one of the first French works which Italy, before then so hostile and impenetrable to French music, has applauded with a sort of furor. In Germany, where for a number of years Spohr’s “Faust” reigned supreme, it was received in a triumphal manner, and completely dethroned the latter. It excited enthusiasm, not only in Vienna, Berlin, Dresden, Hamburg, Baden, Leipsic, Frankfort, Stuttgart and Darmstadt, not only in Milan, Rome, Venice, Naples, Florence, Genoa, Parma and Bologna, but in London, Moscow, St. Petersburg, Varsovie, Copenhagen, Stockholm, Brussels, Amsterdam, Madrid, Barcelona, Lisbon, etc., and even finally crossed the seas and became popular in the two Americas. It is perhaps the first work by a French composer which had such a rapid, complete and universal success. In Paris, “Faust” had been played more than four hundred times at the Théâtre-Lyrique when the Opéra signified a desire to appropriate it. The authors consented; but certain modifications were necessitated by this change of scene, and first of all the spoken dialogue had to be suppressed and replaced by recitatives. These changes effected, the work made its appearance at the Opéra March 3, 1869, and there continued its successful career, counting five hundred performances in the space of eighteen years. The five hundredth was given on the 4th of November, 1887, and the six hundredth took place in the beginning of the year 1892, so that in Paris alone, “Faust” has already reached its thousandth performance. Such a success is without parallel in the annals of the theatre in France.
CHARLES GOUNOD.
Reproduction of an engraving made from a photograph in 1859, about the time of the first production of Faust, Gounod being then in his forty-first year.
Gounod had borrowed “Le Médécin Malgré Lui” from Molière; he had appropriated material from Goethe’s “Faust;” it was La Fontaine who furnished him the subject of a pretty opera, somewhat light in character, called “Philémon et Baucis,” performed at the Théâtre-Lyrique, Feb. 18, 1860. The score of “Philémon et Baucis” is a pleasant one, full of charm, in which tenderness and grace alternates with fun and buffoonery. The work, which was in three acts, achieved only a moderate success at the Théâtre-Lyrique; its real success dates from its transfer to the Opéra Comique, reduced to two acts. Since then it has never been taken from the repertoire of that theatre. But soon Gounod was to appear on the grand stage of the Opéra with a work of large proportions, “La Reine de Saba.” Notwithstanding the fame which his previous works had made for him, he was no more fortunate with “La Reine de Saba” (Feb. 29, 1862) than he had been with “La Nonne Sanglante.” It is true that this time the trouble lay principally in the libretto of his collaborators, which was absolutely devoid of interest. For it is but just to say that if the score of “La Reine de Saba” is of unequal merit and of a secondary character, it nevertheless contains some superb and exquisite pages, like the noble air of Balkis, and the beautiful chorus of the Jewesses and the Sabians. However, it only lived through fifteen performances at Paris, though it should be remarked that in certain foreign cities it was received with great favor, and that in Brussels and Darmstadt, among others, its success was considerable.
Gounod’s unfortunate attempts at the Opéra led him to turn his attention anew to the Théâtre-Lyrique, where he brought out, March 19, 1864, a work entitled “Mireille,” the subject of which was taken from a pretty provincial poem by Frederic Mistral, bearing the same title, (Mireio). This poem is an exquisite pastorale, written in that provincial language at once so musical, so sweet and harmonious, a language which is melody in itself. Unhappily, the libretto which Gounod set to music on this subject was badly chosen, being ill adapted to the stage, and therefore militated against the composer’s work, although the latter contained some truly charming pages. The first act, particularly, radiant with light and sunshine, is charmingly poetic, and especially deserving of mention is the beautiful chorus of the magnarelles and the touching duet of Mireille and Vincent. The score contains still other charming bits, such as Magali’s beautiful song and Taven’s couplets: Voici la saison, mignonne. However, the defective libretto stood in the way of the success of the work, which at first remained undecided. It was found necessary to entirely rewrite the work, to make large suppressions, and reduce it from five to three acts, which did not result in its being any better received by the public. It was not until later, when it was transferred to the Opéra Comique after having been subjected to still further revisions and cast in its final form, that “Mireille” at last found the success which its incontestable musical value merited. Thereafter, it never left the repertoire of that theatre.
No particular importance can be attached to a little work in two acts, “La Colombe,” which Gounod gave to the Opéra Comique in 1866, and which he had written some years before for the theatre at Baden; it was a sort of salon operetta, without special character or consequence. But the composer was yet to carry off one of the most brilliant victories of his career with “Roméo et Juliette” which made its first appearance at the Théâtre-Lyrique on the 27th of April, 1867. More fortunate than “Faust” and “Mireille,” whose success had been so difficult to establish, “Roméo et Juliette” was well received from the very outset, and this superb score in which the passion of love and the sentiment of chivalry are so happily united, immediately found favor with the public. Nor has it ever ceased to excite public sympathy, and it has changed its biding-place from the Théâtre-Lyrique to the Opéra Comique, and from that theatre to the Opéra without experiencing any diminution of public interest. “Roméo et Juliette” has exceeded the number of five hundred performances in Paris, one hundred of which were at the Théâtre-Lyrique, about three hundred at the Opéra Comique and more than one hundred at the Opéra. Outside of France it has not been less successful, and it has made a part of the repertoire of all the great theatres of Europe.
Moreover, “Roméo et Juliette” marks the culminating point in the career of Gounod, who since then has not been able to equal its success. In 1870 the master went to London where he remained for several years, working and producing much. There it was that he wrote, among other things, an opera called “George Dandin,” to the prose of Molière, which has not yet been performed; it was there also that he wrote, for the Universal Exposition at London in 1871, a grand cantata entitled “Gallia,” which was performed later at Paris, where it was very favorably received. A warm welcome was also given to the music which Gounod wrote for “Jeanne d’Arc,” a drama in verse by Jules Barbier which was performed at the Gaiety on Nov. 8, 1873. This music consisted of melodramas, interludes, choruses, etc., and contained some very interesting pages. The preceding year the Ventadour theatre had brought out a drama in verse by Ernest Legouvé for which Gounod had written a score of the same kind; this drama was called “Les Deux Reines de France.”
In these two works the music was merely an accessory, and the composer was only the humble servant of the poet, whom he discreetly aided and supplemented. But Gounod had not given up the idea of appearing again before the public as a true dramatic musician. Ten years had elapsed since he had given “Roméo et Juliette,” and the public were growing impatient for a new work from him, when in 1877 the Opéra Comique announced the performance of “Cinq-Mars.” This was an artistic treat in which all Paris desired to participate, but which did not wholly justify the hopes which it had raised. The score of “Cinq-Mars” was certainly far from being worthless; it was written in a musical language that was superb and noble in style, but aside from a few exquisite pages, it did not have the freshness, the abundance and the generosity of inspiration which had hitherto characterized Gounod’s work. It was unequal, cold at intervals, and one no longer felt that vigor of youth, that warmth of accent which had made the triumph of the master’s great productions. In a word “Cinq-Mars” was received with sympathy but not enthusiasm, and as soon as the novelty had passed it disappeared without causing any disquietude.
GOUNOD’S RESIDENCE ON BOULEVARD MALESHERBES IN PARIS.
From a photograph made in April, 1891.