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

October, 1929 The Phonograph Monthly Review 9 protection. Finally, deciding to leave Des Grieux, she sings regretfully:—“Adieu, notre petite table” (Farewell, little table of ours), sung with much beauty of tone by Geraldine Farrar, (Vic- tor, 88146). Another fine record of this same air is by Lucrezia Bori (Victor, 1009). Des Grieux returns from posting his letter, and finds her weeping. He endeavors to comfort her by relating a dream which he has had. “Le Reve” (De Grieux’s Dream) sung by Ed- mond Clement, (Victor, 74258). This seems to me to be incomparably the finest of all the “Dream” records. It is sung with infinite delic- acy and charm, and there is an unbelievably fine piano accompaniment by that genius, Frank La Forge. The first scene of act 3 takes place on the grand Promenade of the “Cours-la-Reine”—a pleasure- park on the outskirts of Paris. As the mistress of de Bretigny, Manon is resplendently gowned and jewelled. She graciously receives the com- pliments showered upon her, and sings that wherever she goes she is acclaimed as the queen of love and beauty:— “Je marche sur tous les chemins”, sung by Yvonne Brothier, (French gramophone, P647). This is followed by a storm of applause, and Manon gracefully responds with the gavotte:— “Obeissons quand leur voix appelle”, sung by Geraldine Farrar, (Victor, 87023). This num- ber is also sung attractively by Mile. Ragon (French Gramophone, P501). On the other side of the disk is the so-called Fabliau—“Oui, dans les bois”, which is found in the appendix at the end of the opera-score, and Which may be sung in the place of the gavotte, if the singer so desires. Now comes the ballet, and in this divertisse- ment of the Cours-la-Reine we pay homage to the dance-forms of a day gone by. Essentially a musical colorist, Massenet has marvellously caught the spirit of these dances of the Court and of Royalty. This music reflects the gilt, the ar- tificial grace and brilliancy of the latter part of the seventeenth and the early eighteenth centur- ies in France. A certain lightness of touch, a miniature effect, a graceful formality, is really its distinguishing quality, and the stilted grace and affected elegance of the Sarabande, Pavane, Passepied and Minuet—musical pastels of gossa- mer delicacy—are here realized with incompar- ale felicity by the composer. The Gramophone Shop offers this “Manon” ballet, complete, played by a Symphony Orches- tra, under the magic baton of M. G. Cloez, (0 07192). The performance is perfection, and the recording superb. The second scene of act 3 takes place in the parloir of the Seminary of St. Sulpice. Here, groups of ladies and nuns are extolling the elo- quence of the new priest who speaks with such divine fire, and, in the Chapel, the choir is heard chanting “In Deo Salutari Meo”. These poly- phonic choruses bear witness to the composer's technical skill, but furnish a grave problem for the chorus-master. Massenet has often been re- proached for writing music so palpably beyond the capabilities of the usual opera chorus. When I heard “Manon” at the Metropolitan, some little time ago, the groups of worshippers made no at- tempt to sing these complicated passages; they simply bowed and genuflected, permitting the fine orchestra to supply the music. Massenet, how- ever, has an illustrious predecessor in the com- mission of this very fault—if fault it can be called, for Wagner sometimes asked rather ter- rible things of his singers. For instance, what ensemble on earth did he consider able to sing— and sing with even a moderate degree of success —the beautiful, but practically impossible, chorus music in the first act of “Lohengrin”? Presently the elder Des Grieux enters. He comes to remonstrate with his son, and sings an aria in which he urges the youth not to take the final vows, but, rather, to return to the world and marry some noble girl, “worthy of you, and worthy of us.” “Epouse Quelque Brave Fille” (French Gramo- phone, P507). Des Grieux is left alone, a prey to vain regrets, and tortured by his recollections of his brief love-dream in Paris—he sees before him the vision of Manon,—always Manon. He adjures the sweet image to depart from him, and leave him to such peace as he may be able to find. “Ah Fuyez, Douce Image,” sung by Caruso with such a flood of golden tone, and such pas- sionate fervor as will probably never be heard again in this aria. As Des Grieux returns to the chapel he sees Manon, and here begins the great duett—the famous “Chapel Scene,” which is re- corded on two sides of a 12-inch disk. I. “Toi! Vous!”; 2. “N’est ce Plus Ma Main?”, sung by Mile. Roger and M. Marcelin, both of the Opera-Comique. In this scene the music reaches a high level of dramatic expressiveness, Des Grieux bids her begone, and not to dare to speak of earthly love in such a place as this, but Manon's love for him has returned ten-fold, and she gradually breaks down his coldness with her entreaties and caresses. At last he yields and passionately exclaims:—“Let us go quickly . . . I am thine ... let Heaven take what vengeance it will!” “Ah, how I love you!” sighs Manon. This record, by Roger and Marcelin is from the French Gramophone Co. (W. 697.) The sarnie scene is sung very finely by Mile. Berthe Cesar, and Leon Campagnola, (Victor, 55089-A, and 55089-B). {To be continued) I In connection with Mr. Hadley’s comment & on “Manon” recordings it is of special inter- § est to note that the complete opera has just § been issued in album form by the French g Columbia Company. g