New-York tribune., 1910-01-20
NJ USIC
A NEW OPERA AT MR.. HAMMER
STEMS HOUSE.
Massenet's ''Grisslidis.

night produced third. "GriseIidis," like
lie Jongleur de Notre Dame" is in sharp
contrast with "Herodiade." That's and
"Sapho, and occupies territory between
those somewhat lurid operas and the
composers romantic ''Manon'' and "Wer-
ther,' in which there is more or less por-
trayal of domestic passion. So many
operas by single composer ought TO speak
well for his versatility. as 1t surely does
of his fecundity and industry. But the
individuality of Massenet, which is incon-
testahle is an individuality which leans
heavily on sameness. The French wits
who thought it clever TO dub him Mad
emoiselle Wagner" fifteen or twenty
years ago. have never had an opportunity
to greet him as Madame W. Those feat
ures of his art which were most charming
then are the most charming now. He has
not grown older in thought or ripper in Gre
ative ability, but only more facile and more
finished in expression.
"Griselids' was a first product of an
amiable pose which was continued in LIE
Jongleur de Notre Dame" 1t was common
gossip in Paris some years ago that Mas
senet composed lie Jongleur'' (Which has
no female character) to answer the filings
of the boulevardiers to the effect that his
inspiration required the spur of Sibyl San
dersons charms. ''Griselidis'' had already
disclosed the aosurdity of the story. II
preceded lie Jongleur" and was as little
adapted to the type of character which he
had associated with Miss Sanderson as
lie Jongleur' is adapted to Miss Garden
or any other woman. Both operas are,
in fact, easily explained by the essentially
sentimental spirit of French art. Whether
Gounod attempt to write an oratorio on
ia
and his redemption, or Massenet picture
the touching piety of an honest mounte-
bank it is all one: the music is bound to
run out into q gentle strain of religious
balladry. Except for Cesar Franck's
"Beattudes" the basic type for French
religious music is There is a green hill
far away"
French music. so far as 1t is represented
by Massenet, is still ingenious in its pur-
suit of beauty. II does not seem imminent
that Ibsen will inspire him or any other
French composer. Oscar Wilde, whom some
progressive Germans now point to as
the highest development of dramatic
genius, has not yet appealed TO the people
for whom he wrote what his German ad-
mirers think a transcendent masterpiece.
His celebration of necrophilism waited for
a German TO come who should attempt TO
glorify it in music. Electra's bestial fe-
rocity as pictured by Hoffmansthal will no
more find favor among the French than
Salore's perverse passion did. Let that
much be said in favor of the artistic tend
ency of people who are willing TO bark
back to q miracle tale like that of Our
Lady's Juggler," OF TO a legend like that
of "Griseldis" for presentation on the op-
era stage of to-day. Who, indeed but a
F'renchman could have thought of calling
the Patient Grizel' back to life-that
marvellous model Of patience, humility.
fidelity and wifely obedience, We thought
that the lachrynal fioodgates which the
perusal of her sufferings kept open for
three centuries or more had long been
closed. And TO present her with truly
medieval simplicity without philosophic
gloss or comment inspired by modern
thought, in these days OF female assertive-
ness, What daring Il is difficult to mag
inc where the figure OF Grizel, or Griselda,
or Griselidis came from. The popular
comedians were playing La Mystere de
Griselidis'' in Paris in 1893. but by that
time there were at least twenty French
versions of the old story. Boccaccio had
told it in his .cDecameron," Petrarch had
made a Latin romance Of it Ode Obedien-
tia ct Eide Uxoria Mythologia'') and
Chaucer had put il into the mouth OF his
Clerk in The Canterbury Tales" The
Italian poet Zeno made an opera book of
il which was composed by over a dozen
composer between 1701 and 1896. OF all of
these operas We can recall but q single
relic. Nine Sembrich occasionally sings
an aria beginning Per la gloria d'ado-
rarvt" from the "Griselda' which Bon
oncini brought forward in London in 1722
and which was so successful Is TO Ill Han
del with the pangs OF jealousy and provoke
John Byrom's epigrau:
Some ssv, compared to Bononcini
That Mynheer Handels but A nlnny,
Others aver that he TO Handel
Is scarcely II 70 hold q candle.
Strange all this difference should be
'TWiXL tWeedledun and tWeedledee.
Other incidents OF historical interest grew
out Of this predecessor Of Massenets opera.
Anastasia Robinson enacted the part #
Griselda and, if Burney IS to be believed,
il was her conduct and singing as the saint
" sufferer that completed the conquest of
Lord Peterborough, who married the prina
donna after he had caned Senesino for hav-
ing been rude TO her behind the scenes
That the story OF the opera could provoke
Ievity as well as tears nearly two hundred
years ago is also proved by some lines
which appeared in The Freehoders' Jour
nal" On March Il, 1722, apropos of the
wretchedness of the libretto written by
Signor Rolli, a friend of Bononcini and d
hearty hater of Handel:
cast from her kingdom, from her lord
lied,
C;riseIda still was lamblike, mute and mild.
PIt ROLLS verse provoke the saint TO roar,
She rav'd she madd'ned and her pinners
tore.
And sanctiied the miserable scenes.
Nassenet's opera was a mystery before
II was an opera Its authors, Armand Syl-
vestre and Eugene Morand produced the
play at the Ccmedie FRANCHISE on May IS.
1891 To make an opera out of it required
little else than the preixing of prologue
and the investiture Of the lines with music.
Thus changed, Massenet brought it for
ward at the Opera Comique November
% 1901 In the cast We're two artists
known 10 New York NJ. Huberdeau. who
anneared in the Devils part at Hammer
STEMS production. was the original op-
cratic Ciondebaud and Mile Breval. one OF
Mr. C;rau's prima donnas at the Metropoll-
tan Opera House, was the Gris6lidis. The
oDera differs in some particulars from the
medieval legend. but the story may first
Le told in its cid form. It is all about
charcoal burners daughter who becomes
the wife Of the Marquis of Saluzzo. He, 70
test her obedience. robs her of her infant
daughter whom he sends TO the Queer Of
pavfa to be brought up. Her son. who Is
10y, fo,,r Years later is also sent away,