New-York tribune., 1907-01-19
MUSIC.
S1GN0R PUCCINI AND ''MANON LES
CAUT."

eeived with great acclaim by a gathering notable
In numbers and appearance, and amid scenes of
glad excitement which grew from act to act, Puc-
cIll Manon Lescaut' was produced for the first
time at the Metropolitan Opera House last night.
The opera was not wholly to the city. for it
mad had one two performances by vagrant
Italian company at Wallack's Theatre in May.
1898 but to all intents and purposes this was a
first performance for the musical itlnerants or
nine years ago not equal TO the task set by
Slgnor PuCcini's and may honestly be said to
have given perverson rather tnan performance
of the opera. Why 1t should have waited TIL
now, and for the stimulus Of the composers com
ing before reaching the Metropolitan Opera House
will not easily be explained by those admirers OF
the composer who have long known, or at least
felt, that in spite of the high opinion in which
La Boheme." La Tosca" and "Madama Butter
ny are held here. "Manon Lescaut" is fresher,
more spontaneous more unaffected and pas
sionate in its clImaxes, well more ingratiat-
ingly charming in its comedy element than any Of
the works from his pen that have succeeded It,
The unmistakable voice of Puccini rings through
all of its measures. but it Is freer from the
formularies which have since become less
stereotyped and there are a greater number of
echoes OF the tunefulness which belongs to
the older period, between which and the
present time the work marks transition. After
last nights performance there Is little likelihood
that Manon Lescaut' will again be permitted TO
rall into desuetude. at least so long as Signor
Csruso remains associated with opera in New
york. for In the character of the Chevalier des
GFieux that artist has of the finest mediums
That he has yet disclosed for exploitation of his
phenomenal gifts Of voice and manner. With him
In the principal parts last night were associated
Nine. Cavalieri, SignOr Scott and Signor ROss.
The lady was a lovely picture from Mr.. Conried's
gallery OF beauties and her impersonation was
sincere and convincing from n dramatic point of
view. though wOfully disappointing vocally Ex-
cellent character deineation marked the imper-
sonaton Of Scotti. and effective singing also, while
Rossi was actor merely. Every feature of the
performance after the first act aroused enthusiasm
which grew frantic after each fall of the curtain
As such things go the story of 'Manon Lescaut'
Is good operatc material Il is old story, which
has done its share in encouraging morbid SYM
pathy for wickedness and vice which fourishes
In the playhouse. and has fourished for genera
lions II is pretty generally known, II not in the
form given 10 1t by the Able Provost IN of the
most admired rOmances OF the eighteenth century.
at least in the story Of the Lady of the Camelias
(Which it probably inspired. though there is a
tradition that the later novelist got his plot from
a story of real ufe) and Verdi's ''Traviata At
any rate, the two stories variations of a single
theme Manon is a country maiden, naturally
light hearted. joyous and free from scruple. who
spells out the consummation of human longings In
life in Paris. and the personal adornments
and pleasures which money can buy AT
Amiens. while her way TO a convent
she meets the Chevalier des Grieux who be.
comes enamoured OF her and persuades her TO fly
''-N
bliss. she OF greater gsyety than his means can
purchase for her She abandons him for a wealth.
fer lover old roue. and he flies to religion for
consolation He becomes a famous preacher, and
her humor again turns toward him. She seeks him
out in the Seminary OF St. sulpice. breaks down
his resolution with few words OF love and artful
Teininiscence. and, he had once deserted his
family. so now he sacrifices honor and the Church
to his passion. Desiring more money than he can
supply from his legitimate income she leads him
10 gamble. rival quarrels with him in the
gambling room. and TO get revenge for HIS
losses OF money and love brings the police upon
the scene. The chevalier's father secures the re-
lease of his son, but Manon Is condemned to de-
Iortaton TO the penal colony in America Des
Grieux still the helpless slave OF passion secures
the privilege OF going 10 Louisiana with her There
she dies, purged OF sin. the world is asked 10
think. by her love for des Grieux. whose life she
has blasted and by tho sufrerings brought on her
ref by her own wickedness II is the old apothe-
osis OF vice. for which. more's the pity. music can
do much-more. perhaps than any other art II
rot all the arts combined
Puccini is the ifth musical composer who has
taken "Manon' for subject In 1880 IIalevy
brought forward a three-act ballet dealing with
the story: Balfe wrote French opera with the
title in 1886. Auber another In 1856. and Massenet
still another in 1884 Scribe was Auber's coIabo-
ratoT, and their opera, which ended like Puccins.
with the OF Manon's death In America,
ceived touch of local color from the employment
OF Negro dances and Creole songs. II would be
Interesting 10 the old that the
artistic value OF the folk songs OF South
an incentive to distinctive school Of music has
challenged critical attention and aroused con-
troversv Massenet's opera. which. through
the influence OF Nine. Minnie Hauk.
produced the Academy of Music in the expiring
days Colonel MaplesOn's career. December
q. 1855. dropped out OF the local repertory
until the restoration Of the Italian regime at the
Metropolitan Opera House. since which time II has
had half dozen performances with Sybi Sander
son and Jean de Reszke and Nine. Savile and
Ernest Van Dyck in the principal parts. The
opening and closing incidents In Massenets opera
are the same as those utilized by SgnOr Puccini
though NM. Meilhac and GilIe. the French libret-
lists thought it unnecessary to carry the story
across the for the sake Of ManOn's death
scene In their book she succumbs to nothing
that obvious, and dies in her lovers while
on the way to the ship at Havre. which wait
ing to carry her 10 America. The dramatic
we'll as musical climax of the opera is the
scene In the Seminary of st. Sulpice. between
Manon and the man whom she had deserted. and is
trying again lure into her tolls Here the French
dramatists began their work OF sentimental puri-
ncation by putting prayer into the heroine's
mouth, and the composer found his finest Oppor-
tunity In the effective contrast OF secular and
ligious music Manon blends her voice with that
of a choir singing the "Magnificat' TO organ ac-
compartment. Puccinis librettist (Domenico OLIVIA
a dramatic critic on Roman newspaper whose
name is not mentioned on the title page OF the
opera because of the many changes which the
composer made in his work. omitted this episode
in Prevosts romance.
Puccinis opera is divided into four scenes. each
one Of which fills an act. The first act which is
of an expository nature. plays in a courtyard at
Amiens All the significant personages Of the
drama are introduced and their moral characters
disclosed: ManOn; Lescaut, her brother. vulgar
guardsman willing to trade in his sisters shame;
Geronte an old roue, who like Morfontain IN Mas