Part 31

Excited by such a success Gounod at once renounced his orders, and entered without more delay upon the militant career of the art interrupted for so many years. He soon produced in public a pretty symphony in E flat, which, performed in a remarkable manner by the Saint Cecilia Society, then a worthy rival of that of the Conservatoire, won him the congratulations and sincere encouragement of the critics. Then, thanks to the assistance of Mme. Viardot, he was charged with writing for the _Opéra_ the score of a work in three acts, “Sapho,” the libretto of which had been confided to a young poet, Emile Angier, who was likewise in the morning of his career, and likewise destined for glory, and in this work the great artist whom we have just named, was to take the principal rôle. Notwithstanding all, “Sapho” was not well received by the public, or at least only moderately so and scarcely achieved more than what is called in France a success of esteem. Yet the work was an exceedingly good one, but the first step on a stage so important as that of the _Opéra_ is so difficult for a young composer to make! It must be said, however, that if the work as a whole was not judged entirely satisfactory, especially in regard to the scenic effects, etc., it presented a value which a fastidious critic stated in these terms: “The opera of “Sapho,” without being a good dramatic work, is the work of a distinguished musician who has style and lofty tendencies. M. Gounod has perfectly seized and happily rendered all the lyric parts of the subject which he has treated, but he has been less happy in trying to express the conflict of passions and the contrast of characters.” Certain pages in the score of “Sapho” were remarked as being quite individual in flavor, and the public were especially delighted with the beautiful song of the young shepherd, “Brontez le Thym, Brontes mes chêvres,” as well as the admirable couplets of “Sapho,” of a character so melancholy, and an inspiration so full of a delicate poetry. The work was performed on the 16th of April, 1851.

A year later the Comédie-Française produced a tragedy by Pousard, “Ulysse,” for which Gounod had written a number of beautiful choruses, redolent with the perfume of antiquity and full of a manly energy. Very soon the young composer appeared again at the _Opéra_ with a grand work in five acts called “La Nonne Sanglante,” the libretto of which, although signed by the names of Scribe and Germain Delavigne, was absolutely devoid of interest. He made a mistake in accepting this libretto, previously refused by several of his colleagues, among others Meyerbeer and Halévy, and which could not excite his inspiration. Notwithstanding some remarkable bits, some vigorous and beautiful scenes, the score of “La Nonne Sanglante” was really only secondary in value, and the work achieved a very mild success when it was produced Oct. 18, 1854, with Mlles. Werthermber, Poinsot and Dameron, MM. Gueymard, Depassio and Merly for interpreters. Its career was short, and it only lived through eleven performances. Gounod had not yet found his vein.

But better fortune was in store for him, and after a few years of silence he began the series of his successes by giving to the _Théâtre-Lyrique_, then very flourishing and very brilliant under the direction of M. Carvalho, “Le Médécin Malgré Lui.” The libretto of this had been arranged for _Opéra Comique_ by MM. Jules Barbier and Michel Carré, who had preserved the greater part of Molière’s prose. Although from a general point of view the comic sentiment may not be the dominant quality of his talent, yet that quality is far from lacking in Gounod, as is proved by “Le Médécin Malgré Lui,” which remains one of the most curious and most original of his attempts. In this work, which was performed Jan. 15, 1858, the composer revived with a rare cleverness the old forms of French music, while adding thereto the most ingenious and most piquant artifices of the modern science, and by clothing the whole with his masterly style he produced a work of a very unique color, flavor and character. “Le Médécin Malgré Lui,” which the public received with marked favor, seemed to prepare the great day of Gounod’s artistic life. Fourteen months after the appearance of this work, that is to say, on March 19, 1859, the composer gave to the same theatre the work which was to establish his fame upon a fixed basis. The reader of course divines that I refer to “Faust,” that masterpiece which can boast of such a brilliant, prolonged and universal success, and which will remain, perhaps, the author’s best title to the remembrance and recognition of posterity.

But let it not be supposed that the triumphal career of “Faust” was not confronted at the outset with difficulties and obstacles which appeared insurmountable. When it was carried by the authors to the _Théâtre-Lyrique_, there was in preparation at the Porte Saint Martin theatre another drama built on Goethe’s poem, and bearing the same name. M. Carvalho told Gounod that it would be necessary to await the result of the “Faust” at the Porte Saint Martin, for if that work won a success, it would be very difficult and very hazardous to offer another “Faust” to the public. So they waited, and the drama not proving a success, it was decided to proceed with the study of the opera. Gounod’s “Faust” was presented in the form styled in France _Opéra Comique_, that is to say, the singing parts being interspersed with spoken dialogue. (It was not until later when “Faust” passed into the repertoire of the _Opéra_ that this dialogue was replaced by recitatives.) The rôle of Marguerite was first given to Mme. Ugalde, but Mme. Carvalho having expressed a desire to take the rôle, after becoming acquainted with the music, the authors transferred it to her and consoled Mme. Ugalde by giving her the part of Mélodine in Victor Massé’s opera, “La Fée Carabosse,” which was being mounted at the same time. The rehearsals of “Faust” were very laborious. M. Carvalho, disconcerted by the new and daring character of the music, and by the poetic sentiment revealed in it, which he judged incompatible with stage requirements, picked a quarrel with the composer, declared his score too much developed, and constantly demanded new cuts and changes. Gounod, made uneasy by this lack of confidence, had yielded to several of these demands and had already consented to several suppressions, when at last M. Carvalho came to him one day with a proposition to suppress the beautiful final scene in the garden, fearing that this quiet scene, with no outburst or noise of any kind, would seem cold to the public and fail to produce an effect. This time Gounod, who had faith in his work and was conscious of its value, stood fast and immovable, declaring he would rather withdraw his score than to yield this point and consent to such a sacrifice. In short, after a whole series of combats and discussions of this sort, which were renewed daily, the work was finally brought out. Truth compels the confession that it was not fully understood at first; that the critics stood hesitating and undecided in the presence of a work so new in form, and that the public itself was of two minds regarding the value of the work, some applauding with enthusiasm while others harshly criticised. It is certain that the first reception was more cold and reserved than could have been desired, but gradually people began to understand and appreciate the beauties abounding in this exquisite score, and at last its success was complete, brilliant and incontestable, spreading first throughout France, then over Europe, then over the entire world, where “Faust” is to-day, and long has been, considered a great masterpiece, and its author’s best work. “Faust” has been played in all countries and translated into all languages. It is one of the first French works which Italy, before then so hostile and impenetrable to French music, has applauded with a sort of furor. In Germany, where for a number of years Spohr’s “Faust” reigned supreme, it was received in a triumphal manner, and completely dethroned the latter. It excited enthusiasm, not only in Vienna, Berlin, Dresden, Hamburg, Baden, Leipsic, Frankfort, Stuttgart and Darmstadt, not only in Milan, Rome, Venice, Naples, Florence, Genoa, Parma and Bologna, but in London, Moscow, St. Petersburg, Varsovie, Copenhagen, Stockholm, Brussels, Amsterdam, Madrid, Barcelona, Lisbon, etc., and even finally crossed the seas and became popular in the two Americas. It is perhaps the first work by a French composer which had such a rapid, complete and universal success. In Paris, “Faust” had been played more than four hundred times at the _Théâtre-Lyrique_ when the _Opéra_ signified a desire to appropriate it. The authors consented; but certain modifications were necessitated by this change of scene, and first of all the spoken dialogue had to be suppressed and replaced by recitatives. These changes effected, the work made its appearance at the _Opéra_ March 3, 1869, and there continued its successful career, counting five hundred performances in the space of eighteen years. The five hundredth was given on the 4th of November, 1887, and the six hundredth took place in the beginning of the year 1892, so that in Paris alone, “Faust” has already reached its thousandth performance. Such a success is without parallel in the annals of the theatre in France.

[Illustration:

CHARLES GOUNOD.

Reproduction of an engraving made from a photograph in 1859, about the time of the first production of Faust, Gounod being then in his forty-first year. ]

Gounod had borrowed “Le Médécin Malgré Lui” from Molière; he had appropriated material from Goethe’s “Faust;” it was La Fontaine who furnished him the subject of a pretty opera, somewhat light in character, called “Philémon et Baucis,” performed at the _Théâtre-Lyrique_, Feb. 18, 1860. The score of “Philémon et Baucis” is a pleasant one, full of charm, in which tenderness and grace alternates with fun and buffoonery. The work, which was in three acts, achieved only a moderate success at the _Théâtre-Lyrique_; its real success dates from its transfer to the _Opéra Comique_, reduced to two acts. Since then it has never been taken from the repertoire of that theatre. But soon Gounod was to appear on the grand stage of the _Opéra_ with a work of large proportions, “La Reine de Saba.” Notwithstanding the fame which his previous works had made for him, he was no more fortunate with “La Reine de Saba” (Feb. 29, 1862) than he had been with “La Nonne Sanglante.” It is true that this time the trouble lay principally in the libretto of his collaborators, which was absolutely devoid of interest. For it is but just to say that if the score of “La Reine de Saba” is of unequal merit and of a secondary character, it nevertheless contains some superb and exquisite pages, like the noble air of Balkis, and the beautiful chorus of the Jewesses and the Sabians. However, it only lived through fifteen performances at Paris, though it should be remarked that in certain foreign cities it was received with great favor, and that in Brussels and Darmstadt, among others, its success was considerable.

Gounod’s unfortunate attempts at the _Opéra_ led him to turn his attention anew to the _Théâtre-Lyrique_, where he brought out, March 19, 1864, a work entitled “Mireille,” the subject of which was taken from a pretty provincial poem by Frederic Mistral, bearing the same title, (Mireio). This poem is an exquisite pastorale, written in that provincial language at once so musical, so sweet and harmonious, a language which is melody in itself. Unhappily, the libretto which Gounod set to music on this subject was badly chosen, being ill adapted to the stage, and therefore militated against the composer’s work, although the latter contained some truly charming pages. The first act, particularly, radiant with light and sunshine, is charmingly poetic, and especially deserving of mention is the beautiful chorus of the magnarelles and the touching duet of Mireille and Vincent. The score contains still other charming bits, such as Magali’s beautiful song and Taven’s couplets: Voici la saison, mignonne. However, the defective libretto stood in the way of the success of the work, which at first remained undecided. It was found necessary to entirely rewrite the work, to make large suppressions, and reduce it from five to three acts, which did not result in its being any better received by the public. It was not until later, when it was transferred to the _Opéra Comique_ after having been subjected to still further revisions and cast in its final form, that “Mireille” at last found the success which its incontestable musical value merited. Thereafter, it never left the repertoire of that theatre.

No particular importance can be attached to a little work in two acts, “La Colombe,” which Gounod gave to the _Opéra Comique_ in 1866, and which he had written some years before for the theatre at Baden; it was a sort of salon operetta, without special character or consequence. But the composer was yet to carry off one of the most brilliant victories of his career with “Roméo et Juliette” which made its first appearance at the _Théâtre-Lyrique_ on the 27th of April, 1867. More fortunate than “Faust” and “Mireille,” whose success had been so difficult to establish, “Roméo et Juliette” was well received from the very outset, and this superb score in which the passion of love and the sentiment of chivalry are so happily united, immediately found favor with the public. Nor has it ever ceased to excite public sympathy, and it has changed its biding-place from the _Théâtre-Lyrique_ to the _Opéra Comique_, and from that theatre to the _Opéra_ without experiencing any diminution of public interest. “Roméo et Juliette” has exceeded the number of five hundred performances in Paris, one hundred of which were at the _Théâtre-Lyrique_, about three hundred at the _Opéra Comique_ and more than one hundred at the _Opéra_. Outside of France it has not been less successful, and it has made a part of the repertoire of all the great theatres of Europe.

Moreover, “Roméo et Juliette” marks the culminating point in the career of Gounod, who since then has not been able to equal its success. In 1870 the master went to London where he remained for several years, working and producing much. There it was that he wrote, among other things, an opera called “George Dandin,” to the prose of Molière, which has not yet been performed; it was there also that he wrote, for the Universal Exposition at London in 1871, a grand cantata entitled “Gallia,” which was performed later at Paris, where it was very favorably received. A warm welcome was also given to the music which Gounod wrote for “Jeanne d’Arc,” a drama in verse by Jules Barbier which was performed at the Gaiety on Nov. 8, 1873. This music consisted of melodramas, interludes, choruses, etc., and contained some very interesting pages. The preceding year the Ventadour theatre had brought out a drama in verse by Ernest Legouvé for which Gounod had written a score of the same kind; this drama was called “Les Deux Reines de France.”

In these two works the music was merely an accessory, and the composer was only the humble servant of the poet, whom he discreetly aided and supplemented. But Gounod had not given up the idea of appearing again before the public as a true dramatic musician. Ten years had elapsed since he had given “Roméo et Juliette,” and the public were growing impatient for a new work from him, when in 1877 the _Opéra Comique_ announced the performance of “Cinq-Mars.” This was an artistic treat in which all Paris desired to participate, but which did not wholly justify the hopes which it had raised. The score of “Cinq-Mars” was certainly far from being worthless; it was written in a musical language that was superb and noble in style, but aside from a few exquisite pages, it did not have the freshness, the abundance and the generosity of inspiration which had hitherto characterized Gounod’s work. It was unequal, cold at intervals, and one no longer felt that vigor of youth, that warmth of accent which had made the triumph of the master’s great productions. In a word “Cinq-Mars” was received with sympathy but not enthusiasm, and as soon as the novelty had passed it disappeared without causing any disquietude.

[Illustration:

GOUNOD’S RESIDENCE ON BOULEVARD MALESHERBES IN PARIS.

From a photograph made in April, 1891. ]

The following year Gounod presented himself again at the _Opéra_. For a long time past he had felt the desire to attempt one of the Corneille’s masterpieces, and he had formed the plan of setting “Polyeucte” to music, and transforming it into a lyric drama. It was a subject half religious, half profane, which seemed peculiarly suited to his intellectual temperament. He charged his friend, Jules Barbier, with fashioning a libretto from Corneille’s celebrated tragedy, which the latter followed step by step, even preserving some of the great poet’s verses, and he wrote the music of this new “Polyeucte,” which was performed at the _Opéra_, Oct. 7, 1878. But it was said that the author of “Faust” and “Roméo,” both so successful at the _Opéra_, after having been born and bred elsewhere, could never succeed at that theatre with a work written expressly for it. “Polyeucte,” indeed, was not well received, and scarcely deserved to be, and its career ended with a series of twenty-nine performances. The composer was not much more fortunate with “Le Tribut de Zamora,” another work which he gave to the _Opéra_, April 1, 1881. This work, however, had been staged with great splendor and magnificence, the costumes and decorations were very rich and elaborate, and what was still more important, the two principal rôles were taken by artists of the first rank, M. Lassalle and Mme. Gabrielle Krauss, the latter especially being very fine in the character of Xaïma. But nothing could counteract the insipidity and insignificance of the work, and notwithstanding the luxury brought to its support, notwithstanding the incontestable talent of its interpreters, “Le Tribut de Zamora” scarcely lived through fifty performances. This was the last dramatic effort of Charles Gounod, who seems to-day to have finally given up the theatre, and whose health has been steadily declining for a number of years.

But Gounod has not confined himself exclusively to the theatre; his very remarkable fertility has exercised itself in all directions,

## particularly in the religious genre, so well suited to his nature.

Gounod’s religious compositions are very numerous, and since he has renounced the stage he has achieved some striking successes in oratorio. “La Redemption,” (1882) a sacred trilogy, of which he wrote the music and the French words, and “Mors et Vita,” another sacred trilogy, the Latin text of which he arranged himself from the Catholic liturgy and the Vulgate, won for him triumphs which the great merit of these beautiful compositions fully justified. Since his youth Gounod has produced a great number of sacred works, several of which are of rare beauty, such as the “Messe des Orphéonistes” (1853), the “Messe de Sainte Cécile” (1855), a mass in C minor (1867), a mass of the Sacred Heart (1876), a mass to the memory of Joan of Arc (1887), a mass for two voices, a short mass in C major, three solemn masses, two Requiem masses, a “Stabat Mater,” a “Te Deum,” a hymn to Saint Augustin, “Les Sept Paroles du Christ,” “Jésus sur le lac de Tibériade,” a choral psalmody, “Tobie,” a little oratorio, and a considerable number of motets of different kinds.

In profane music, and aside from the theatre, Gounod has shown himself scarcely less fertile. His two symphonies, (first in D, second in E flat) and his “Temple de l’Harmonie,” cantata with choruses, are all compositions of great merit. I would mention also “Biondina,” a pretty little lyric poem, and especially would I call attention to his beautiful male choruses, and to his songs of which he has written more than a hundred, and among which are to be found veritable masterpieces of poetry and sentiment, such as “Le Vallon,” “Le Soir,” “Medjé,” “l’Envoi de Fleurs,” “Le Printemps,” “La Prière du Soir,” “Venise,” etc. In this style of composition Gounod’s repertoire is varied, substantial and charming, and few French writers have given us a note so personal and original.

In attempting to characterize the genius of Gounod, and to determine the place which he should occupy in the history of contemporaneous art, it is necessary to consider principally “Faust” and “Roméo et Juliette.” These are his two masterpieces, and it is through these works that the composer has truly revealed his personality and his genius; it is through these works that his name has become famous and will go down to posterity. It is of these works, then, that we must demand the secret of that powerful influence which Gounod has exerted for more than a quarter of a century over the art, over artists and over the public.

[Illustration:

Fac-simile autograph manuscript from Gounod’s “Romeo and Juliet.” ]

Although not performed until a year after “Le Médécin Malgré Lui,” “Faust” was written first. In this work the musician had been intelligently served by his collaborators, who had taken from Goethe’s masterpiece all that which pertained to the action and to the dramatic passion, and left judiciously alone all the psychological, philosophical and metaphysical dissertations. The libretto was admirably cut for the stage, varied in tone and coloring, and contained a fair quota of that fantastic element so effective on the stage and so well liked by the public. And never was the musician better inspired. The Kermesse scene is full of warmth and sunshine; the garden scene is one of an ethereal and enchanting poetry, and the words of passion are by turns softly languishing or full of an intense energy; the scene in the church, where Mephistopheles, pursuing Marguerite even to the very shades of the sanctuary, tries to arrest her prayer, and prevent the unfortunate victim from taking refuge in the Divine mercy, is stamped with a rare feeling of grandeur, and reveals a profoundly dramatic character. Finally, the episode of the death of Valentine and his malediction of Marguerite forms a pathetic and superb scene, which, with its numerous and varied incidents is surely one of the best of this remarkable work.