Preview Massenet: Werther
Gender reversal as an operatic hero turns suicidal
Preview: Massenet: Werther
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If French Opera is ever to mean anything more to us than just Carmen, then this is the sort of piece we must be prepared to explore. In a rare combination of academic and commercial success, Jules Massenet developed into both the most influential Conservatoire teacher and major operatic composer in fin-de-siècle Paris. A Prix de Rome winner, like many fellow French musicians he was smitten early by the beguiling fascination of Wagner, and the German master’s influence on his orchestration and the use of musical motifs were to stay with him. Nevertheless, Massenet found his own style, what D’Indy called, “a discreet and pseudo-religious eroticism”, a seemingly inexhaustible stream of well-mannered, short-breathed melodies through a sure, masterful talent for orchestral writing, music essentially charming and captivating enough to suit any dramatic situation. Undoubtedly, an overriding need for safe box-office is a more obvious reason for his latter-day neglect than any musical shortcomings. Nevertheless, Manon was given by Opera North some six years ago and there are periodic revivals of Le Cid and Thais, sometimes semi-staged by amateur organisations, to keep up a public interest.
Werther is based on Goethe’s novel The Sorrows of Young Werther, the very tome credited with initiating the 18th century ‘Storm and Stress’ movement. Massenet uses it to bring 19th century verismo back into French theatre. Werther, a tenor, loves Charlotte, a mezzo, who returns his devotion despite being betrothed to Albert, the baritone. The departure from a familiar story-line of many an opera before and since, is that it is the hero who threatens suicide. Werther leaves, returning to discover that Charlotte has now married. She implores him to leave her once more, but on finding that he has borrowed Albert’s pistols, rushes through a snowstorm to save him from shooting himself.
The initial bourgeois contentment of small-town German life is captured perfectly. The smouldering, restrained sensuality and stirring dramatic fire of the unfolding story-line add the impression of the work as something out of the ordinary. Werther and Charlotte’s love-music develops magically from remembered party themes into a big romantic string tune. She reads his letters to a haunting saxophone. He boils over in an aria heavy with passionate desperation. The final scenes produce a frisson that anticipate Puccini.
Alice Coote, who began her career at ON, now returns to sing Charlotte. Keighley-born Paul Nilon, who has taken several prominent roles over the years at the Grand, sings the title role. Richard Farnes conducts. Sung in French with English titles.
26 September, 3, 6, 16, 21, 24 October, Grand Theatre, 46 New Briggate, LS1 6NZ, 0113 222 6222, 7.30pm, £10-£58
Posted on Friday 4th September 2009
TT
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