Phonograph Monthly Review, Vol. 4, No. 1 (1929-10)

8 The Phonograph Monthly Review October, 1929 was as lovely as a Dresden statuette—a vision of beauty; coquettish and provoking enough to drive Des Grieux—or any other man—to distraction. There was tremendous applause—endless curtain calls, and flowers enough to stock a conservatory. As the second act progressed, however, it became evident that her voice was an extremely small one—all but lost in the huge spaces of the Met- ropolitan. Jean de Reszke, who was singing Des Grieux, thinking her nervous at a first appear- ance, whispered encouragingly: — “Don't be afraid—let your voice out!" “I can't sing any louder," answered Sanderson, under the cover of the music, “this is all the voice I have!" “Manon" contains what, perhaps, was Mas- senet's greatest innovation. It was in this score that he successfully made the experiment of link- ing the numbers by providing a light orchestral accompaniment, thus achieving an art midway between opera-comique and grand opera. And how eloquently his orchestra comments upon the doings of the actors. Truly Massenet was never quite so happy as when doing something with the orchestra, and few composers have displayed such an absolute knowledge and command of orches- tral effect. In “Manon" the romantic nature of the subject was well calculated to captivate the composer; it is Massenet's most popular opera, and is one of the favorite works in the modern repertoire. Geraldine Farrar, by her rare charm, beauty and lovely voice, has placed her “Manon" forever in the gallery of unforgettable imperson- ations. Music-lovers owe a debt to this remark- able woman that they can never repay. In “Manon" the story happens to exactly fit Massenet's peculiar talents, and the resulting music is admirable. Indeed, he succeeds in giv- ing his wayward but charming heroine much of the fascination she possesses in the pages of the Abbe Prevost's immortal love story. The com- poser has been extremely successful in the matter of character delineation in his music. The prin- cipal characters of the opera are well associated with certain definite melodic phrases, which, as they recur again and again, acquire a symbolic meaning that is not to be mistaken. “Manon" is musically identified by a melody two bars long; of quavers in 6-8 time, the second and third notes and the fifth and sixth syncopated, which in- troduces her to the audience and cleverly indi- cates the mingled ingenuousness and frivolity of her nature. The reader's pardon is asked for this technical digression, and let there be no righteous wrath at the mention of syncopation . . . nearly the whole of Beethoven's Seventh Symphony is based on it; and Schumann wrote hardly two con- secutive bars without it. This entrance-air of Manon, “Je suis encore tout etourdie," is dif- ficult to describe but very easy indeed to listen to. It is sung charmingly by Mary Lewis (French Gramophone Co., DB 800). Next in or- der comes the duett in the Courtyard of the Inn at Amiens where Manon, a country maiden, is waiting for her cousin Lescaut to take her to a convent. It is in two parts; I “Restate qui" (Wait a moment) and 2. “Mi raccomando" (Wait for me), which includes the adjuration of Lescaut to Manon “Regardez-moi bien dans les yeux" (give good heed to what I say). (Victor, 55000 Parts 1 and 2), as Lescaut admonishes the young girl to behave modestly and be discreet. Manon settles herself resignedly back upon the low stone seat, and prepares to await her cousin’s return. She wonders what all these people do ... if they are always so gay and happy. If she could but be so, too! But no!, she must bid farewell to such rosy visions:— “Voyons, Manon, plus de chimeres" (An end to dreams, Manon) sung exquisitely by Maria Kurenko (Columbia, 7110M). This is one of the most characteristic pages of the score—wist- ful, tender; it is Massenet at his best. Then, as she raises her eye to a balcony on which three young actresses are coquetting with their admirers, she says, half aloud:—“Oh! what a life! How pretty they are. What rich dresses and beautiful jewels. Those dainty costumes add so much to their beauty! Ah! Manon, you must leave such visions at the door of the convent." Then, in a burst of enthusiasm she exclaims:— “How delightful it must be to spend your whole life in pleasure," followed by a return of the first sad little theme in the minor, “Voyons, Manon." Then comes the duett in which the young man, the Chevalier des Grieux, sees Manon. It is love at first sight. 1. “Et je sais votre nom" (If I but knew your name). 2. “Non! votre liberte ne sera pas ravie" (You shall remain free). This duett in two parts is finely sung by Berthe Cesar, and Leon Cam- pagnola (Victor 55086). Vows are exchanged, and the lovers plan to go to Paris. “Nous vivrons a Paris," by Lucette Korsoff and Leon Beyle (Victor, 45009). Act 2 opens with the famous “Letter Duett." Installed in their apartment in the Rue Vivienne, in Paris, Des Grieux is writing for his father's consent to their marriage. Manon leans lovingly over his should- er, and together they read the letter, while the orchestra in a caressing accompaniment, wherein the harp and horn figure prominently, comments sympathetically upon the youth and beauty and charm of Manon. The best recording that has yet been made of this captivating scene is the one by Enrico Caruso and Geraldine Farrar, (Victor 89059). Whether regarded simply as beautiful music; or for its large measure of sentimental association; or for a study in perfection of voice and phrasing, this record will be an addition of supreme artistic importance and interest to any collection of disks. Manon, however, is beginning to tire of this modest and economical menage— she wishes luxury and admiration. She is aware of the intentions of de Bretigny, a wealthy French nobleman, and is disposed to accept his