The best of Massenet?

[Alan Howe]

Apologies, I entirely misread your post. I thought you were talking about Esclarmonde. Oh dear - advancing years and all that...

[alberto]

I know (more or less well) several operas by Massenet, having attended four of them. My preferred Massenet works, however, are the orchestral "Scenes Alsatiennes", followed by the Piano Concerto and by the ballet for the opera "Le Cid" (I had the luck to attend a performance-four of seven dances- conducted by Lopez-Cobos).I could propose among my favourite Massenet works also the Overture for Racine's Phedre and "the last sleep of the Virgin" (from the forgotten oratorio "La Vierge"): a short piece once famous, now still recorded).

[Alan Howe]

What I was trying to get at in this thread is the notion that in his later operas Massenet was attempting something rather more subtle, albeit across various different genres of opera. It's the creation of scenes of extraordinary tenderness and beauty - in contrast to the grander gestures of his more famous works. I have found this so far in Grisélidis, Don Quichotte, Chérubin and Cendrillon, all of which lack the more obvious attractions of his earlier and more famous operas, but which, once you realise what he is attempting, touch the heart in new ways. Of course, many critics have argued that Massenet's genius operated at a much lower level of inspiration in these works, but I'm beginning to wonder wherther they have simply missed the point...

[kolaboy]

Has anyone here ever come across a complete recording of Bacchus? It's one of the later operas I've not heard...

[edurban]

I have Panurge around here somewhere.  I'll give it a listen.

[Mark Thomas]

Picking up Alan's point about the sublety of Massenet's later operas, I'll freely admit that over the years I've tended to relegate them (and there are lots of them) to the dusty recesses of my collection in my enthusiasm to listen yet again to the blockbusters of his middle period. However, my interest is piqued now, so I'll dig out a couple in the next few days and listen again with renewed attention.

[Alan Howe]

The point is not to listen to them expecting to encounter (and enjoy) the grand gestures of his earlier operas. That is the 'category mistake', as it were.

[Mark Thomas]

You are absolutely right, and I have just done exactly that with Sapho, which he composed in 1897, immediately before Cendrillon, and revised in 1909. I have to say that, just as you predicted, I was utterly bowled over by the range which Massenet demonstrates in this piece. It's a modern tale, reminiscent of La Traviata: a woman of a "certain age", with a disreputable past, falls in love with an innocent young man and eventually leaves him for his own good, despite his wishes. As it's essentially a modern, domestic subject, there is none of the grandeur which I love so much in Esclarmonde or Le Mage. Instead Massenet adopts a conversational, declamatory style of singing for much of the time, with few conventional arias, duets etc. It is still intensely lyrical for the most part and, although there are passages in which Sapho in particular almost shouts in frustrated rage, these are contrasted with passages of the most affecting and almost whispered tenderness in the scenes shared by the two lovers. I felt, for the first time perhaps, that here Massenet was portraying both the highs and lows of real emotion in music which goes to the heart. Thank you, Alan, my eyes (and ears) are now open...

[Alan Howe]

I was sure you'd agree!

I've just finished listening to Chérubin - the comedy fizzes and the many quieter scenes are full of tenderness, even nostalgia. The critics have got Massenet 100% wrong.

Of course, these operas have to be well sung...

[Mark Thomas]

I also listened to a very different opera, Don Quichotte, yesterday and the impression was reinforced. There is such a plethora of moods in this piece, none of them straightforward. There's comedy, but mostly pathos, in most characters' relationships with Quixote himself. Dulcinea is haughty, but tender and caring in the way she deals with his hopeless love for her; Pancho Sanza is a comedic character, yet Massenet captures all of the nuances of his very complex attitude towards his master; even the bandit chief is touched by Quixote's mission. The music is an absolute kaleidoscope of colours, mood and pace; often riotious, frequently subtle. Ultimately Massenet manages to paint a convincing portrait of poor deluded, noble Quixote and the kindness which he brings out in others. It's a triumph in it's way. I preferred the verismo of Sapho, but there's real artistry in Don Quichotte.

[Alan Howe]

What a range the man had! Both within individual operas and from opera to opera. My next port of call is Le Jongleur de Notre Dame...

[Mark Thomas]

Yes, I'm going to work my way through them all too now. Should keep me quiet...

[scottevan]

Into the mix, I'll add Amadis, composed in the late period but his last opera to reach the stage (posthumously.) There are similarities, both in story and the grand gestures, to Le Cid but it also has the subtleties and nuances we've discussed. A work that really grows on you, and a fitting summation to an extraordinary career.

[JimL]

Re the mysterious violin concerto for Marteau: I have submitted an inquiry to the Jules Massenet Society and am awaiting their response.  When I receive it I will post it here.

[Alan Howe]

No, please don't, Jim. Please start a new thread.