[Met Performance] CID:15710

United States Premiere, New Production

Orfeo ed Euridice
La Navarraise
Metropolitan Opera House, Wed, December 11, 1895




Orfeo ed Euridice (12)
Christoph Willibald Gluck | Ranieri de' Calzabigi
Orfeo
Marie Brema

Euridice
Marie Engle

Amore
Mathilde Bauermeister

Dance
Maria Giuri


Conductor
Armondo Seppilli



La Navarraise (1)
Jules Massenet | Henri Ca?n/Jules Ars?ne Arnaud Claretie
Anita
Emma Calv?

Araquil
Albert Lubert

Garrido
Pol Plan?on

Remigio
Armand Castelmary

Ramon
Georges Maugui?re

Bustamente
Maurice Devries


Conductor
Enrico Bevignani


Director
William Parry





Orfeo ed Euridice received one performance this season.
La Navarraise received eight performances this season.

Review 1:

Henderson review in his weekly ?Music? column in The New York Times

The most important feature of the week was the production of " La Navarraise," at the Opera. There is a well-defined feeling among the powers that govern the Metropolitan that the general public does not wish for new operas, but it would not be at all surprising if Massenet's drum and trumpet work, with Mme. Calv?'s shocking performance of the heroine, should catch the taste of a town which hungers at all times for something highly spiced. It will not be the music that delights, for it was a curious fact that after the first rattle of musketry on Wednesday night some of the women in the house watched the proceedings on the stage, but stopped their ears with their fingers, and thenceforward by them.


Not a drum was heard, not a funeral note.

Queer sort of opera, isn't it, that women are afraid to hear? Yet it is true that when one comes away from the performance of this work he remembers only the stage pictures, the action, the crushing atmosphere of gloom." La Navarraise " is not an opera; it is not even a lyric drama. It is a melodrama as it stands, with its subordinate musical accompaniment. If the music were eliminated it would be a gruesome little tragedy. The incidents follow one another too rapidly to give the composer opportunity to make a musical moment.


In a vague and unsatisfactory way he creates an instrumental agitation, in which the low register of the whole orchestra stands for gloom and the bleat of trumpets indicates war. Only twice does he have room to expand moods into musical form. The first time is immediately after the entrance of Anita's soldier lover, Aragon. Then we get some evidence of that Massenet who wrote "Werther.? The duo, "Mon souvenir t'a protege," is a charming bit, and there are fluent melody and expressiveness in Araquir?s "Vous qui sestet la-bas," which immediately follows it.


Massenet's other opportunity is in the little nocturne, which is played between the first and second scenes, while the soldiers, by the license of the theatre, sleep eight hours in two minutes. The nocturne is very slight music, but it is an appropriate and sympathetic accompaniment to the picture. But that completes the musical investiture of the drama, for Bustamente's song, "Tai trots maisons dans Madrid," is a mere incidental piece. The rest of "La Navarraise" is rapid, feverish, hysterical movement, ending with a horrible vision of a mad girl turning back a dead man's eyelids with her thumbs and shrieking her ghastly laughter into his pallid face. The story, which has already been told in this journal, was put into the form of a libretto by Jules Claretie and H. Cain. It is a revolting story and was designed to give people the horrors.


Mme. Calv?'s skill and natural gifts as an actress are not shown to the best advantage in this work, although the part of Anita was written for her. The movement of the play is so short and so rapid that she does not get time to do more than indicate the numerous emotions which chase one another with the speed of flowing water. And she is almost wholly prevented from doing any of those extremely expressive things with her voice which she knows so well how to do in Santutza, For instance, in the duo with Turiddu, she sings with a round, full, mellow tone admirably adapted to convey the love of the woman. And the duo lasts long enough for this tone-color to make the audience feel its influence, so that when Alfio enters and she begins to tell him of Lola's infidelity in a hard, mid voice, the effect is very great.


She uses both these tonal colorings in "La Navarraise." The first is employed in the duet with Aragon, and the second is heard when she cries to Garrido, "Tat prom's, j'ai frappe. L'homme est most!" But the second passage is so brief that only close observers or those familiar with Mme. Calv??s methods will notice its strident and icy quality. The soprano's portrayal of the girl's shuddering aversion to the wedding portion she has earned by murder is splendid acting, and her brief scene of madness reminds one, by its excruciating realism, of Clara Morris's appalling insanity in "Article 47." It is vastly different from the gentle and tearful mania of the Ophelia in Ambroise Thomas's "Hamlet."


Attention was called on Thursday morning to the excellence of the stage management in this production. The methods employed with such realistic results in "Held by the Enemy," "Shenandoah," and "The Girl I Left Behind Me" were advantageously used. The men of the chorus were forced to individualize themselves Instead of being complacent parts of k moving mass. The stage setting might have been improved by the advent of a little new scenery, for those ?Cavalleria Rusticana" houses look just the same on the left as they do on the right.



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