A n.o.ble marquess As he did ride a-hunting, Hard by a forest side, A fair and comely maiden, As she did sit a-spinning, His gentle eye espied.

Most fair and lovely And was of comely grace was she, Although in simple attire, She sang most sweetly, With pleasant voice melodiously, Which set the lord's heart on fire.

An English drama, "Patient Grissel," was entered at Stationers' Hall in 1599. The word "Grizel," the proverbial type of a meek and patient wife, crept into the English language through this story. Chaucer wrote:

No wedded man so hardy be ta.s.saille His wyves patience, in hope to fynde Grisildes, for in certain he shall fail.

Several operas on this subject were written before Ma.s.senet's, but the ballet "Griseldis: Les Cinq Sens" by Adam (Paris, 1848), has another story. So too has Flotow's comic opera, "Griselda, l'esclave du Camoens."

Silvestre and Morand represented _Griselda_ as tempted by _Satan_ in person that he might win a wager made with the marquis. When the "Mystery" was given in 1891 the cast included Miss Bartet as _Griseldis_; Coquelin cadet as _Le Diable_; Silvain as the _Marquis de Saluce_ and A. Lambert, fils, as _Alain_. It was played at fifty-one consecutive performances. According to Mr. Destranges, Bizet wrote music for a "Griselidis" with a libretto by Sardou, but most of this was destroyed. Only one air is extant, that is the air sung by Micaela in "Carmen." According to the same authority Ma.s.senet's score lay "En magasin" for nearly ten years. Thus the music antedated that of "Thas" (1894), "La Navarraise" (1894), "Sapho" (1897), "Cendrillon"

(1899), and it was not performed until 1901.

"Griselidis" was produced at the Opera Comique, Paris, November 20, 1901, with Lucienne Breval, Lucien Fugere, Messrs. Marechal and Dufranne. Andre Messager conducted. On November 23, 1901, the opera drew the largest receipts known thus far in the history of the Opera Comique--9538 francs.

Mr. Philip Hale tells the story of the opera as follows:

"The scene is in Provence and in the fourteenth century. The _Marquis of Saluzzo_, strolling about in his domains, met _Griselda_, a shepherdess, and he loved her at first sight. Her heart was pure; her hair was ebon black; her eyes shone with celestial light. He married her and the boy _Los_ was born to them. The happy days came to an end, for the _Marquis_ was called to the war against the Saracens.

Before he set out, he confided to the prior his grief at leaving _Griselda_. The prior was a Job's comforter: 'Let my lord look out for the devil! When husbands are far away, _Satan_ tempts their wives.'

The _Marquis_ protests for he knew the purity of _Griselda_; but as he protested he heard a mocking laugh, and he saw at the window an ape-like apparition. It was the devil all in green. The _Marquis_ would drive him away, but the devil proposed a wager: he bet that he would tempt _Griselda_ to her fall, while the _Marquis_ was absent.

The _Marquis_ confidently took up the wager, and gave the devil his ring as a pledge. The devil of these librettists had a wife who nagged her spouse, and he in revenge sought to make other husbands unhappy.

He began to lay snares for _Griselda_; he appeared in the disguise of a Byzantine Jew, who came to the castle, leading as a captive, his own wife, _Fiamina_, and he presented her: 'This slave belongs to the _Marquis_. He bids you to receive her, to put her in your place, to serve her, to obey her in all things. Here is his ring.' _Griselda_ meekly bowed her head. The devil said to himself that _Griselda_ would now surely seek vengeance on her cruel lord. He brought _Alain_ by a spell to the castle garden at night--_Alain_, who had so fondly loved _Griselda_. She met him in an odorous and lonely walk. He threw himself at her feet and made hot love. _Griselda_ thought of her husband who had wounded her to the quick, and was about to throw herself into _Alain's_ arms, when her little child appeared.

_Griselda_ repulsed _Alain_, and the devil in his rage bore away the boy, _Los_. The devil came again, this time as a corsair, who told her that the pirate chief was enamoured of her beauty; she would regain the child if she would only yield; she would see him if she would go to the vessel. She ran to the ship, but lo! the _Marquis_, home from the East. And then the devil, in another disguise, spoke foully of _Griselda's_ behaviour, and the _Marquis_ was about to believe him, but he saw _Griselda_ and his suspicions faded away. The devil in the capital of a column declared that _Los_ belonged to him.

Foolish devil, who did not heed the patron saint before whom the _Marquis_ and _Griselda_ were kneeling. The cross on the altar was bathed in light; the triptych opened; there, at the feet of St. Agnes, was little _Los_ asleep.

"The opera begins with a prologue which is not to be found in the version played at the Comedie-Francaise in 1891. The prologue acquaints us with the hope of the shepherd _Alain_ that he may win _Griselda_: with the _Marquis_ meeting _Griselda_ as he returns from the chase, his sudden pa.s.sion for her, his decision to take the young peasant as his wife, the despair of _Alain_. This prologue, with a fine use of themes that are used in the opera as typical, is described as one of the finest works of Ma.s.senet, and even his enemies among the ultra-moderns admit that the instrumentation is prodigiously skilful and truly poetic.

"The first act pictures the oratory of _Griselda_, and ends with the departure of the _Marquis_.

"The second act pa.s.ses before the chateau, on a terrace adorned with three orange trees, with the sea glittering in the distance. It is preceded by an entr'acte of an idyllic nature. It is in this act that the devil and his wife enter disguised, the former as a slave merchant, the latter as an odalisque. In this act the devil, up to his old tricks, orders the flowers to pour madding perfumes into the air that they may aid in the fall of _Griselda_. And in this act _Alain_ again woos his beloved, and the devil almost wins his wager.

"The third act is in _Griselda's_ oratory. At the end, when _Los_ is discovered at the feet of St. Agnes, the retainers rush in and all intone the 'Magnificat' and through a window the devil is seen in a hermitage, wearing cloak and hood.

"The pa.s.sages that have excited the warmest praise are the prologue, _Griselda's_ scene in the first act, 'L'Oiseau qui pars a tire-d'aile,' and the quiet ending of the act after the tumult of the departure to the East; in the second act, the prelude, the song, 'Il part.i.t au printemps,' the invocation, and the duet; in the third act, a song from the _Marquis_, and the final and mystic scene."

THAS

"Thas," a lyric comedy in three acts and seven scenes, libretto by M.

Louis Gallet, taken from the novel by M. Anatole France which bears the same t.i.tle; music by Ma.s.senet; produced at the Opera on March 16, 1894. It had been, I think, more than sixty years since the Opera had applied the designation of "lyric comedy" to a work produced on its stage, which is a little too exclusively solemn. As a matter of fact there is no question in Thas of one of those powerful and pa.s.sionate dramas, rich in incidents and majestic dramatic strokes, or one of those subjects profoundly pathetic like those of "Les Huguenots," "La Juive," or "Le Prophete." One could extract from the intimate and mystic novel of "Thas" only a unity and simplicity of action without circ.u.mlocutions or complications, developing between two important persons and leaving all the others in a sort of discreet shadow, the latter serving only to emphasize the scenic movement and to give to the work the necessary life, color, and variety.

[Ill.u.s.tration: Copyright photo by Mishkin

Mary Garden as Thas]

[Ill.u.s.tration: Photo by White

Farrar and Amato as Thas and Athanael]

The librettist had the idea of writing his libretto in prose, rhymed, if not entirely in blank verse, in a measured prose to which, in a too long article reviewing it, he gave the name of "poesie melique." This explanation left the public indifferent, the essential for them being that the libretto be good and interesting and that it prove useful to the musician. The action of "Thas" takes place at the end of the fourth century. The first act shows us in a corner of the Theban plain on the banks of the Nile a refuge of cen.o.bites. The good fathers are finishing a modest repast at their common table. One place near them remains empty, that of their comrade _Athanael_ (Paphnuce in the novel) who has gone to Alexandria. Soon he comes back, still greatly scandalized at the sensation caused in the great city by the presence of a shameless courtesan, the famous actress and dancer, _Thas_, who seems to have turned the sceptical and light heads of its inhabitants.

Now in his younger days _Athanael_ had known this _Thas_, and in Alexandria too, which he left to consecrate himself to the Lord and to take the robe of a religious.

_Athanael_ is haunted by the memory of _Thas_. He dreams that it would be a pious and meritorious act to s.n.a.t.c.h her from her unworthy profession and from a life of debauchery which dishonours her and of which she does not even seem to be conscious. He goes to bed and sleeps under the impress of this thought, which does not cease to confront him, so much so that he sees her in a dream on the stage of the theatre of Alexandria, representing the Loves of Venus. He can refrain no longer and on awaking he goes to find her again, firmly resolved to do everything to bring about her conversion.

Arrived at Alexandria, _Athanael_ meets an old friend, the beau _Nicias_, to whom he makes himself known and who is the lover of _Thas_ for a day longer because he has purchased her love for a week which is about to end. _Athanael_ confides his scheme to _Nicias_ who receives him like a brother and makes him put on clothes which will permit him to attend a fete and banquet which he is to give that very night in honour of _Thas_. Soon he finds himself in the presence of the courtesan who laughs at him at his first words and who engages him to come to see her at her house if he expects to convert her. He does not fail to accept this invitation and once in _Thas's_ house tells her to be ashamed of her disorderly life and with eloquent words reveals to her the heavenly joys and the felicities of religion.

_Thas_ is very much impressed; she is on the point of yielding to his advice when afar off in a song are heard the voices of her companions in pleasure. Then she repels the monk, who, without being discouraged, goes away, saying to her: "At thy threshold until daylight I will await thy coming."

In fact here we find him at night seated on the front steps of _Thas's_ house. Time has done its work and a few hours have sufficed for the young woman to be touched by grace. She goes out of her house, having exchanged her rich garments for a rough woollen dress, finds the monk, and begs him to lead her to a convent. The conversion is accomplished.

But _Athanael_ has deceived himself. It was not love of G.o.d but it was jealousy that dictated his course without his being aware of it. When he has returned to the Thebaid after having conducted _Thas_ to a convent and thinks he has found peace again, he perceives with horror that he loves her madly. His thoughts without ceasing turn to her and in a new dream, a cruel dream, he seems to see _Thas_, sanctified and purified by remorse and prayer, on the point of dying in the convent where she took refuge. On awaking, under the impression of this sinister vision, he hurries to the convent where _Thas_ in fact is near to breathing her last breath. But he does not wish that she die; and while she, in ecstasy, is only thinking of heaven and of her purification, he wants to s.n.a.t.c.h her from death and only talks to her of his love. The scene is strange and of real power. _Thas_ dies at last and _Athanael_ falls stricken down beside her.

[Ill.u.s.tration: Copyright photo by Dupont

Farrar as Thas]

[Ill.u.s.tration: Photo by White

Farrar and Amato as Thas and Athanael]

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. Ma.s.senet has written on this libretto of "Thas" 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 cen.o.bites, 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 _Athanael_, the fine phrase which follows his dream: "Toi qui mis la pitie dans nos ames," 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 _Athanael_: "Voila donc la terrible cite," written on a powerful rhythm, is followed by a charming quartette, a pa.s.sage 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 _Thas_: "Nous nous sommes aimes une longue semaine,"

which seems to conceal under its apparent indifference a sort of sting of melancholy. I pa.s.s over the air of _Thas_: "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 _Athanael_ tries to convert _Thas_. 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 "Meditation," 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 _Thas_, 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. _Athanael_ wants _Thas_ 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 _Thas_. 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 _Thas_, who at the moment of quitting life begins to perceive eternal happiness, and the powerless rage of _Athanael_, who, devoured by an impious love, reveals to her, without her understanding or comprehending it, all the ardour of a pa.s.sion that death alone can extinguish in him. The touching phrases of _Thas_, the despairing accents of _Athanael_, 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. Ma.s.senet. We must point out especially the return of the beautiful violin phrase which const.i.tutes the foundation of the intermezzo of the second act.

The work has been very well played by Mlle. Sybil Sanderson (_Thas_), M. Delmas (_Athanael_), M. Alvarez (_Nicias_), Mmes. Heglon and Marcy, and M. Delpouget.

MANON

Opera in five acts by Ma.s.senet; words by Henri Meilhac and Philippe Gille, after the story by Abbe Prevost. Produced Opera Comique, Paris, January 19, 1884; Theatre de la Monnaie, Brussels, March 15, 1884. In English, by the Carl Rosa Company, Liverpool, January 17, 1885; and at Drury Lane, London, May 7, 1885, with Marie Roze, Barton McGuckin, and Ludwig. In French, Covent Garden, May 14, 1894. Carcano Theatre, Milan, October 19, 1893. Academy of Music, New York, December 23, 1885, with Minnie Hauck (_Manon_), Giannini (_Des Grieux_), and Del Puente (_Lescaut_); Metropolitan Opera House, January 16, 1895, with Sibyl Sanderson and Jean de Reszke.

CHARACTERS

CHEVALIER DES GRIEUX _Tenor_ COUNT DES GRIEUX, his father _Ba.s.s_ LESCAUT, of the Royal Guard, cousin to Manon _Baritone_ GUILLOT DE MORFONTAINE, Minister of Finance, an old beau _Ba.s.s_ DE BReTIGNY, a n.o.bleman _Baritone_ MANON _Soprano_ POUSSETTE, JAVOTTE, ROSETTE, actresses _Sopranos_

Students, innkeeper, a sergeant, a soldier, gamblers, merchants and their wives, croupiers, sharpers, guards, travellers, ladies, gentlemen, porters, postilions, an attendant at the Monastery of St. Sulpice, the people.

_Time_--1821.

_Place_--Amiens, Paris, Havre.

Act I. Courtyard of the inn at Amiens. _Guillot_ and _De Bretigny_, who have just arrived with the actresses _Poussette_, _Javotte_, and _Rosette_, are shouting for the innkeeper. Townspeople crowd about the entrance to the inn. They descry a coach approaching. _Lescaut_, who has alighted from it, enters followed by two guardsmen. Other travellers appear amid much commotion, amus.e.m.e.nt, and shouting on the part of the townspeople. He is awaiting his cousin _Manon_, whom he is to conduct to a convent school, and who presently appears and gives a sample of her character, which is a mixture of demureness and vivacity, of serious affection and meretricious preferment, in her opening song, "Je suis encore tout etourdie" (A simple maiden fresh from home), in which she tells how, having left home for the first time to travel to Amiens, she sometimes wept and sometimes laughed. It is a chic little song.

_Lescaut_ goes out to find her luggage. From the balcony of the inn the old roue _Guillot_ sees her. She is not shocked, but laughs at his hints that he is rich and can give her whatever she wants. _De Bretigny_, who, accompanied by the actresses, comes out on the balcony in search of _Guillot_, also is much struck with her beauty.

_Guillot_, before withdrawing with the others from the balcony, softly calls down to her that his carriage is at her disposal, if she will but enter it and await him. _Lescaut_ returns but at the same time his two guardsmen come after him. They want him to join with them in gambling and drinking. He pretends to _Manon_ that he is obliged to go to his armoury for a short time. Before leaving her, however, he warns her to be careful of her actions. "Regardez-moi bien dans les yeux"

(Now give good heed to what I say).

Left alone, _Manon_ expresses admiration for the jewels and finery worn by the actresses. She wishes such gems and dresses might belong to her. The _Chevalier des Grieux_, young, handsome, ardent, comes upon the scene. He loves _Manon_ at first sight. Nor does she long remain unimpressed by the wooing of the _Chevalier_. Beginning with his words, "If I knew but your name," and her reply, "I am called Manon," the music soon becomes an impa.s.sioned love duet. To him she is an "enchantress." As for her--"a vous ma vie et mon ame" (To you my life and my soul).

_Manon_ sees _Guillot's_ postilion, who has been told by his master to take his orders from _Manon_. She communicates to _Des Grieux_ that they will run away to Paris in _Guillot's_ conveyance. "Nous vivrons a Paris" ('Tis to Paris we go), they shout in glad triumph, and are off.