Jules Massenet - Knowledge (XXG)

476: 1501: 2025: 834:, had been appointed director, and Massenet had resigned as professor of composition. Two explanations have been advanced for this sequence of events. Massenet wrote in 1910 that he had remained in post as professor out of loyalty to Thomas, and was eager to abandon all academic work in favour of composing, a statement repeated by his biographers Hugh Macdonald and Demar Irvine. Other writers on French music have written that Massenet was intensely ambitious to succeed Thomas, but resigned in pique after three months of manoeuvring, once the authorities finally rejected his insistence on being appointed director for life, as Thomas had been. He was succeeded as professor by 430: 40: 1479: 747: 913: 651: 240: 842: 4741: 1530: 1302: 1039: 909:, who created roles in his last operas. Milnes describes Arbell as "gold-digging": her blatant exploitation of the composer's honourable affections caused his wife considerable distress and even strained Massenet's devotion (or infatuation as Milnes characterises it). After the composer's death Arbell pursued his widow and publishers through the law courts, seeking to secure herself a monopoly of the leading roles in several of his late operas. 180: 6206: 5213: 1760: 6216: 556:, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool. 1295:. Massenet's operas consist of anything from one to five acts, and although many of them are described on the title pages of their scores as "opéra" or "opéra comique", others have carefully nuanced descriptions such as "comédie chantée", "comédie lyrique", "comédie-héroïque", "conte de fées", "drame passionnel", "haulte farce musicale", "opéra légendaire", "opéra romanesque" and "opéra tragique". 370: 1193:

Renaissance Spain, India and Revolutionary Paris. Massenet's practical experience in orchestra pits as a young man and his careful training at the Conservatoire equipped him to make such effects without much recourse to unusual instruments. He understood the capabilities of his singers, and composed with close, detailed regard for their voices.

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His early scores are, for the greater part, his best ... Later, and for the plain reason that he never attempted to renovate his style, he sank into sheer mannerism. Indeed, one can but marvel that so gifted a musician, who lacked neither individuality nor skill, should have so utterly succeeded

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Irvine reiterates Massenet's claim, but cites no other authority for it. The post was offered to and accepted by Fauré, whose biographers Duchen, Jones and Nectoux make no mention of any prior offer of the post to Massenet in 1905; nor is it mentioned in Woldu and Queuniet's 1996 study of the crisis

1588:, was staged as an opera during the composer's lifetime. Elements of the erotic and some implicit sympathy for sinners were controversial, and may have prevented his church works establishing themselves more securely. Arthur Hervey, a contemporary critic not unsympathetic to Massenet, commented that 1015:

In August 1912 Massenet went to Paris from his house at Égreville to see his doctor. The composer had been suffering from abdominal cancer for some months, but his symptoms did not seem imminently life-threatening. Within a few days his condition deteriorated sharply. His wife and family hastened to

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Macdonald comments that at the start of the 20th century Massenet was in the enviable position of having his works included in every season of the Opéra and the Opéra-Comique, and in opera houses around the world. From 1900 to his death he led a life of steady work and, generally, success. According

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and resumed his studies; by 1859 he had progressed so far as to win the Conservatoire's top prize for pianists. The family's finances were no longer comfortable, and to support himself Massenet took private piano students and played as a percussionist in theatre orchestras. His work in the orchestra

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wrote that there was "a discreet and semi-religious eroticism" in Massenet's music. The religious element was a regular theme in his secular as well as sacred works: this derived not from any strong personal faith, but from his response to the dramatic aspects of Roman Catholic ritual. The mingling

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Having honed his personal style as a young man, and sticking broadly with it for the rest of his career, Massenet does not, as some other composers do, lend himself to classification into clearly defined early, middle and late periods. Moreover, his versatility means that there is no plot or locale

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By the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, and many of them have

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Massenet's Parisian audiences were greatly attracted by the exotic in music, and Massenet willingly obliged, with musical evocations of far-flung places or times long past. Macdonald lists a great number of locales depicted in the operas, from ancient Egypt, mythical Greece and biblical Galilee to

321:," I cried, bewildered, my face shining with joy. "I have the prize!!!" I was deeply moved and I embraced Berlioz, then my master, and finally Monsieur Auber. Monsieur Auber comforted me. Did I need comforting? Then he said to Berlioz pointing to me, "He'll go far, the young rascal, when he's had 274:

and other composers, classic and contemporary. Traditionally, many students at the Conservatoire went on to substantial careers as church organists; with that in mind Massenet enrolled for organ classes, but they were not a success and he quickly abandoned the instrument. He gained some work as a

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accused the composer of pandering to the fashionable Parisian taste of the moment, and disguising a uniformly "weak and sugary" style with superficial effects. Fuller Maitland contended that to discerning music lovers such as himself the operas of Massenet were "inexpressibly monotonous", and he

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The 21st-century critic Anne Feeney comments, "Massenet rarely repeated musical phrases, let alone used recurrent themes, so the resemblance lies solely in the declamatory lyricism and enthusiastic use of the brass and percussion." Massenet enjoyed introducing comedy into his serious works, and

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that, although usually dismissed as an inferior Gounod, Massenet wrote music with a distinct flavour of its own. "He had a gift for melody of a suave, voluptuous and eminently singable kind, and the intelligence and dramatic sense to make the most of it." The writers called for revivals of

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Royer de Marancour (1809–1875); the elder children were Julie, Léon and Edmond. Massenet senior was a prosperous ironmonger; his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where they settled in a flat in

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Massenet's biographer Demar Irvine notes that, according to French usage of the time, the four children had the right to bear the more aristocratic surname Massenet de Marancour or Massenet Royer de Marancour. The elder brothers did so, but Jules preferred the plain single name.

1057: 901:. He was uninterested in Parisian society, and so shunned the limelight that in later life he preferred not to attend his own first nights. He described himself as "a fireside man, a bourgeois artist". The main biographical detail of note of his latter years was his second 829:

The death of Ambroise Thomas in February 1896 made vacant the post of director of the Conservatoire. The French government announced on 6 May that Massenet had been offered the position and had refused it. The following day it was announced that another faculty member,

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and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries.

2185:), with many more due for re-evaluation or rediscovery. He concludes that comparing Massenet with the handful of composers of great genius, "It would be absurd to claim that he was anything more than a second-rate composer; he nevertheless deserves to be seen, like 2080:

wrote that Massenet's detractors, including some fellow composers, were on the whole idealistic, even puritanical, "but few of them have in practice achieved anything so near perfection in any genre, however humble, as Massenet achieved in his best works." In 1955

1048: 789:, it did not gain widespread popularity among French opera-goers until its first revival, which was four years after the premiere, by when the composer's association with Sanderson was over. In the same year he had a modest success in Paris with the one-act 1359:, Massenet moved away from the traditional French pattern of free-standing arias and duets. Solos meld from declamatory passages into more melodic form, in a way that many contemporary critics thought Wagnerian. Shaw was not among them: in 1885 he wrote of 1160:, and possibly Mascagni, and above all Wagner. Unlike some other French composers of the period, Massenet never fell fully under Wagner's spell, but he took from the earlier composer a richness of orchestration and a fluency in treatment of musical themes. 1637:

Massenet composed many other smaller-scale choral works, and more than two hundred songs. His early collections of songs were particularly popular and helped establish his reputation. His choice of lyrics ranged widely. Most were verses by poets such as

1374:. But if Wagner had never existed, Manon would have been composed much as it stands now, whereas if Meyerbeer and Gounod had not made a path for M. Massenet, it is impossible to say whither he might have wandered, or how far he could have pushed his way. 880:

about the love of an innocent young man from the country for a worldly-wise Parisienne. It was given at the Opéra-Comique in November 1897, with great success, though it has been neglected since the composer's death. His next work staged there was

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summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."

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Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although

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Like many prominent French composers of the period, Massenet became a professor at the Conservatoire. He taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were

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said of it, "If M. Massenet's opera does not have lasting success it will be because it has no genuine depth. Perhaps M. Massenet is not capable of achieving profound depths of tragic passion; but certainly he will never do so in a work like

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bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the

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and the piano with François Laurent. He pursued his studies, with modest distinction, until the beginning of 1855, when family concerns disrupted his education. Alexis Massenet's health was poor, and on medical advice he moved from Paris to

1548: 709:. He developed passionate feelings for her, which remained platonic, although it was widely believed in Paris that she was his mistress, as caricatures in the journals hinted with varying degrees of subtlety. For her, the composer revised 361:, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of one of Liszt's rich patrons. Massenet and Ninon fell in love, but marriage was out of the question while he was a student with modest means. 1725:

view that the composer was really a symphonist, whose music was at its best when purely orchestral. Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of

1598:(1875) were "the Bible doctored up in a manner suitable to the taste of impressionable Parisian ladies – utterly inadequate for the theme, at the same time very charming and effective." Of the four works categorised by Irvine and 2015:

by Massenet were included in mixed recitals on record during the 20th century, and more have been committed to disc since then, including, for the first time, a CD in 2012, exclusively devoted to his songs for soprano and piano.

595:, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic 260:

in the south of France; the family, including Massenet, moved with him. Again, Massenet's own memoirs and the researches of his biographers are at variance: the composer recalled his exile in Chambéry as lasting for two years;

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wrote that with this new work Massenet "has resolutely declared himself a melodist of undoubted consistency and of remarkable inspiration." After these two triumphs, Massenet entered a period of mixed fortunes. He worked on

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Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the

1539: 236:, and was admitted at once. His biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his general education at the lycée in tandem with his musical studies. 113:, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from 1367:

Of Wagnerism there is not the faintest suggestion. A phrase which occurs in the first love duet breaks out once or twice in subsequent amorous episodes, and has been seized on by a few unwary critics as a Wagnerian

1092: 643:, Brussels, immediately offered to present the work, and its première, lavishly staged, was given in December 1881. It ran for fifty-five performances in Brussels, and had its Italian premiere two months later at 1322: 2438:

wrote in 1912, "He can hardly be said to have exercised a wholesome influence as a teacher, and generally speaking, such of his pupils as have displayed more than ordinary merits as composers did not follow his

1500: 768:. The first performance in Paris was in January 1893 by the Opéra-Comique company at the Théâtre Lyrique, and there were performances in the United States, Italy and Britain, but it met with a muted response. 2052:

in throwing away his gifts. Success spoiled him ... the actual progress of musical art during the past forty years left Massenet unmoved ... he has taken no part in the evolution of modern music.

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Massenet wrote more than thirty operas. Authorities differ on the exact total because some of the works, particularly from his early years, are lost and others were left incomplete. Still others, such as

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In the view of his biographer Hugh Macdonald, Massenet's main influences were Gounod and Thomas, with Meyerbeer and Berlioz also important to his style. From beyond France he absorbed some traits from

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Wagner spent ten days in early 1860. Massenet was impressed by Wagner's piano playing, "like a musician, not at all like a pianist". It is not clear whether Wagner heard Massenet play during his stay.

1056: 2425:, a teacher whose pedantic methods had so repelled him when a student that he left Bazin's classes after a month. Bazin is one of the few people about whom Massenet wrote a hard word in his memoirs. 1167:

called him "one of the loudest of modern composers" – much of his music is soft and delicate. Hostile critics have seized on this characteristic, but the article on Massenet in the 2001 edition of

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of Massenet's skill in translating French text into flexible melodic phrases, his exceptional orchestral virtuosity, combining sparkle and clarity, and his unerring theatrical instinct. Begun by

6315: 667:, first given at the Opéra-Comique in January 1884, was a prodigious success and was followed by productions at major opera houses in Europe and the United States. Together with Gounod's 548:

in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the

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was popular in France it had never caught on elsewhere, "largely no doubt because of the monotonously self-pitying character of the hero (this is Goethe's fault rather than Massenet's)."

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In Massenet's later years, and in the decade after his death, many of his songs and opera extracts were recorded. Some of the performers were the original creators of the roles, such as

1324: 2652: 1751:(1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive. 1547: 1083: 6280: 3819: 1678:

Massenet was a fluent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one-act stand-alone ballet for Vienna (

1416:, analysis of productions around the world in 2012–13 shows Massenet as the twentieth most popular of all opera composers, and the fourth most popular French one, after Bizet, 1123: 297:, a virtuoso piano work in nine sections. Having graduated to the composition class under Ambroise Thomas, Massenet was entered for the Conservatoire's top musical honour, the 984:

called "a very Parisian evening and, naturally, a very Parisian triumph". Even with his creative powers seemingly in decline he wrote four other operas in his later years –

2391:" – "He knows everything but lacks inexperience". Saint-Saëns, many years later, attributed it to Gounod. It is more generally believed that the remark was made by Berlioz. 337:. At that time the academy was dominated by painters rather than musicians; Massenet enjoyed his time there, and made lifelong friendships with, among others, the sculptor 1091: 1265:

knows the best of Massenet, but not his range from heroic romance to steamy verismo." Massenet's output covered most of the different subgenres of opera, from opérette (

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Paris, and were with him when he died, aged seventy. By his own wish his funeral, with no music, was held privately at Égreville, where he is buried in the churchyard.

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that can be regarded as typical Massenet. Another respect in which he differed from many opera composers is that he did not work regularly with the same librettists:

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as "the last grand opera to have a great and widespread success". Many of the elements of traditional grand opera are written into later large-scale works such as

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to great effect. The audience clamoured for the composer to acknowledge the applause, but Massenet, always a shy man, declined to take even a single curtain call.

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to his memoirs, he declined a second offer of the directorship of the Conservatoire in 1905. Apart from composition, his main concern was his home life in the

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comments that Massenet's songs, though pleasing and impeccable in craftsmanship, are less inventive than those of Bizet and less distinctive than those of

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alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the

1696:, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is 1323: 647:. The work finally reached Paris in February 1884, by which time Massenet had established himself as the leading French opera composer of his generation. 2082: 6335: 406:

In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the

1790:. It was recorded in 1903, and was not intended for publication. It has been released on compact disc (2008), together with contemporary recordings by 1122: 6265: 6250: 4763: 3790: 3060: 1579:, mostly on religious subjects. There is a degree of overlap between his operatic style and his choral works for church or concert hall performance. 6320: 5249: 4825: 403:, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation. 2130:, from the 1860s until the years before the First World War, the composer gave the French lyric stage a remarkable series of works, two of which – 5217: 2461:

According to Macdonald it was "the biblical-amorous subject" to which Vaucorbeil took exception – an objection that also applied to Saint-Saëns's

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By the time of the composer's death in 1912 his reputation had declined, especially outside his native country. In the second edition (1907) of

429: 6270: 6255: 4845: 1025: 472:. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day. 220:. According to his colourful but unreliable memoirs, Massenet auditioned in October 1851, when he was nine, before a judging panel comprising 6330: 6113: 4647: 4338: 504:, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the 6295: 1114: 3865: 446:

After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts,

2142:, one of the richest cultural periods in history". In France, Massenet's 20th-century eclipse was less complete than elsewhere, but his 2086: 265:

and Irvine record that the young man returned to Paris and the Conservatoire in October 1855. On his return he lodged with relations in

6305: 613: 6189: 2024: 1226: 6290: 4850: 2138:– are "masterpieces that will always grace the repertoire". In Macdonald's view, Massenet "embodies many enduring aspects of the 1202: 591:. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, 6300: 654:"M. Massenet's bland pâtisserie and Mlle. Sanderson's sugar-candy notes" baked in "the National Musical Oven". Caricature from 317:

Ambroise Thomas, my beloved master, came towards me and said, "Embrace Berlioz, you owe him a great deal for your prize." "The

838:, who was doubtful of Massenet's credentials, considering his popular style to be "based on a generally cynical view of art". 4694: 4625: 4606: 4587: 4551: 4532: 4511: 4492: 4454: 4435: 4414: 4395: 4376: 4357: 4304: 4282: 4261: 4182: 4163: 4106: 4067: 4009: 3910: 3654: 2037: 305:. The first two of these were on the judging panel for the 1863 competition. All the competitors had to set the same text by 5668: 1012:, which he had been unable to finish in the 1890s, were premiered after the composer's death and then lapsed into oblivion. 150:

since been staged and recorded. Although critics do not rank him among the handful of outstanding operatic geniuses such as

5948: 3291: 3201: 2070:, and would think I had vastly profited by the exchange." By the 1950s critics were reappraising Massenet's works. In 1951 469: 6092: 252: 2467:, which was banned from the Opéra for many years. Massenet's recollection was that Vaucorbeil considered the librettist, 415: 5338: 5242: 4818: 2422: 2071: 1250: 385:

in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act

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predicted that they would all be forgotten after the composer's death. Similar views were expressed in an obituary in

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intermittently for several years, but it was rejected by the Opéra-Comique as too gloomy. In 1887 he met the American

515: 640: 3799:" Legendary piano recordings : the complete Grieg, Saint-Saëns, Pugno, and Diémer and other G & T rarities" 679:

it became, and has remained, one of the cornerstones of the French operatic repertoire. After the intimate drama of

6196: 5438: 5393: 5267: 4314: 2707: 2624: 2463: 1937: 1776: 912: 514:, was a success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the 6015: 5333: 5147: 4987: 4318: 4292: 2401: 1969: 1856:, have been recorded many times, and studio or live recordings have been issued of many of the others, including 1838: 1711:, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of 1405: 931: 209: 203:. He was the youngest of the four children of Alexis Massenet (1788–1863) and his second wife Eléonore-Adelaïde 5923: 5748: 4666: 6285: 5183: 1688: 1686:, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The 1220:

lists forty Massenet operas in all, of which nine are shown as lost or destroyed. The "OperaGlass" website of

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have a secure place in the international repertoire; he counts three others as "re-establishing a toehold" (

1717: 1667: 945: 599:, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." 411: 346: 151: 5703: 5468: 3787: 3666: 3638: 2158:

in Massenet's native Saint-Étienne have produced biennial performances to promote and celebrate his music.

1608:(1900), was written for church performance. Massenet used the term "oratorio" for that work, but he called 6219: 6161: 6136: 5968: 5838: 5713: 5543: 5288: 5129: 3225: 3166: 2763: 2384: 950: 777:". It was not until a revival by the Opéra-Comique in 1903 that the work became an established favourite. 617:; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him. 553: 350: 338: 330: 262: 217: 4791: 4783: 4775: 4465: 1995:

In addition to the operas, recordings have been issued of several orchestral works, including the ballet

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observes that in the best of his operas this sensual side "is balanced by strong dramatic tension (as in

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Massenet's detractors put a different interpretation on his encouragement of his students' originality:

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Duchen, p. 122; Gordon, p. 131; Johnson, p. 260; Jones, p. 78; Nectoux (1994), p. 63; and Smith, p. 137

966: 650: 639:, judging the libretto either improper or inadequate. Édouard-Fortuné Calabresi, joint director of the 448: 435: 4759: 4227: 6245: 6240: 6173: 6119: 5958: 5918: 5323: 5200: 4947: 1659: 1651: 938:

at the Conservatoire, but made little impression compared with his operas. In 1905 Massenet composed

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The prize brought a well-subsidised three-year period of study, two-thirds of which was spent at the

313:; after all the settings had been performed Massenet came face to face with the judges. He recalled: 213: 2560:

Fuller Maitland was equally antipathetic to many contemporary composers, being similarly hostile to

2116:(1993), Hugh Macdonald wrote that though Massenet's operas never equalled the grandeur of Berlioz's 6168: 6086: 5788: 5763: 5623: 5563: 5553: 5398: 2076: 1989: 1909: 1507: 1221: 1164: 917: 564: 407: 225: 131: 98: 6215: 5683: 2112:, all then neglected. By the 1990s, Massenet's reputation had been considerably rehabilitated. In 1739:, have survived on the fringes of the repertoire. Other works for orchestra are a symphonic poem, 70:

best known for his operas, of which he wrote more than thirty. The two most frequently staged are

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Massenet was never entirely without supporters. In the 1930s Sir Thomas Beecham told the critic

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This period was an early high point in Massenet's career. He had been made a chevalier of the

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comments that they embody the original, intimate Opéra-Comique style of performing Massenet.

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field made little mark, but his orchestral suites, colourful and picturesque according to

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is the composer's masterpiece, it was not immediately taken up with the same keenness as

458: 163: 47: 3971:"Jean-Louis Pichon : «Je pense avoir fait évoluer le regard des gens sur Massenet»" 739:

asked for a new piece, following the enthusiastic reception of the Austrian premiere of

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While still a schoolboy, Massenet was admitted to France's principal music college, the

6146: 6060: 5953: 5938: 5913: 5853: 5848: 5813: 5653: 5643: 5598: 5578: 5558: 5538: 5523: 5513: 5498: 5478: 5443: 5383: 5343: 5308: 5298: 5258: 4907: 4245: 4094: 3973:[Jean-Louis Pichon: "I think I have changed the way people look at Massenet"]. 3594: 2569: 2449: 2057: 1973: 1957: 1941: 1925: 1917: 1893: 1772: 1764: 1683: 1157: 1100: 685: 626: 608: 600: 560: 559:

Massenet was a popular and respected teacher at the Conservatoire. His pupils included

505: 452:(Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to 345:, but the musical benefit he derived was largely self-taught. He absorbed the music at 280: 276: 271: 233: 192: 159: 155: 67: 2675: 6234: 5933: 5868: 5803: 5658: 5613: 5358: 5353: 5348: 5293: 5027: 4979: 4955: 4635: 4425: 4272: 4020: 3869: 1929: 1822: 1806: 1654:

and many lesser-known French writers, with occasional poems from overseas, including

1512: 1070: 976: 860: 797: 669: 596: 576: 572: 419: 342: 302: 162:, his operas are now widely accepted as well-crafted and intelligent products of the 139: 118: 2702: 1584:

of operatic and religious elements in his works was such that one of his oratorios,

5878: 5798: 5793: 5773: 5738: 5588: 5583: 5568: 5548: 5508: 5493: 5473: 5303: 5283: 5035: 3478: 2565: 2468: 2405: 1791: 1759: 992: 922: 584: 334: 310: 298: 221: 108: 43: 5423: 4891: 2480:

This judgment was still shared by some well into the 20th century. The authors of

1163:

Although when he chose, Massenet could write noisy and dissonant scenes – in 1885

1131: 898: 635: 4522: 1546: 1321: 1121: 1090: 1055: 6141: 5888: 5823: 5628: 5608: 5453: 5428: 4995: 4915: 4732: 4580:

Shaw's Music: The Complete Music Criticism of Bernard Shaw, Volume 1 (1876–1890)

4326: 4322: 3438:"Au-delà du scandale de 1905: Propos sur le Prix de Rome au début du XXe siècle" 2118: 1985: 1981: 1933: 1905: 1732: 1727: 1647: 1331: 940: 906: 850: 845: 715: 527: 510: 501: 369: 358: 257: 2404:

became an unofficial centre of Parisian musical life, with Bizet, Saint-Saëns,

6030: 5633: 4971: 2011: 1842: 1682:, 1892). Macdonald remarks that Massenet's orchestral style resembled that of 1563: 1420:

and Gounod. The most often performed of his operas in the period are shown as

1343: 1148: 944:, a light comedy about the later career of the sex-mad pageboy Cherubino from 934:, on which he had begun work while still a student. The work was performed by 886: 866: 588: 523: 266: 248: 105:, whom he greatly admired. After winning the country's top musical prize, the 4750: 4570: 4475: 4146: 4050: 2542:"Une soirée bien parisienne et, naturellement, triomphe bien parisien aussi." 1704:, which has featured on numerous discs since the middle of the 20th century. 5999: 5973: 5378: 5318: 5094: 4218: 4201: 4030: 3276: 3137: 1626: 1413: 1370: 536: 4388:

La Voix de son maître – His Master's Voice: the French catalogue, 1898–1929

4237: 4127: 4086: 3275:

Balthazar, p. 213; Riding and Dunton-Downer, p. 264; and Smillie, Thomson.

1841:, were issued in 1932 and 1933 and have been republished on CD. The critic 731:, and it was not until 1892 that he recovered his earlier successful form. 3913:

The English Musical Renaissance and the Press 1850–1914: Watchmen of Music

1379:

writing some mainly comic operas. In Macdonald's view of the comic works,

689:

in 1885, which marked his return to the Opéra. The Paris correspondent of

6065: 3476:

Maddock, Fiona. "Tristan und Isolde at the ROH, Werther at Opera North",

1572: 644: 83: 4722:

Extensive biography with list of references and compositions (in French)

4716: 3257: 930:

A rare excursion from the opera house came in 1903 with Massenet's only

17: 6040: 4931: 4923: 3495:, Grove Music Online, Oxford University Press, retrieved 8 August 2014 3232:, Oxford Music Online, Oxford University Press, retrieved 29 July 2014 3173:, Oxford Music Online, Oxford University Press, retrieved 29 July 2014 2769:, Oxford Music Online, Oxford University Press, retrieved 28 July 2014 1576: 961: 807: 752: 721: 703: 698: 423: 396: 289: 122: 78: 3577: 3457: 3437: 3258:"Caricature and the Unconscious: Jules Massenet's Thaïs, a Case Study" 3144:, Grove Music Online, Oxford University Press, retrieved 28 July 2014 3063:, Grove Music Online, Oxford University Press, retrieved 13 May 2019 3001: 2891:, Grove Music Online, Oxford University Press, retrieved 20 July 2014 1721:, reviewing the work enthusiastically, nevertheless echoed his French 508:, opened two years previously. The opera, with a story taken from the 1230:, does not: their totals are forty-four and thirty-six respectively. 675: 625:

Massenet's growing reputation did not prevent a contretemps with the

87: 4424:

Macdonald, Hugh (1997) . "Massenet, Jules". In Amanda Holden (ed.).

1594: 870:

complete, though still awaiting performance, Massenet began work on

633:, director of the Opéra, refused to stage the composer's new piece, 2146:

has been revalued in recent years. In 2003 Piotr Kaminsky wrote in

1395:

are less satisfying than "the more delicately tuned operas such as

4899: 4689:. Translated by Mary Dibbern. Hillsdale, NY, US: Pendragon Press. 2023: 1758: 1065: 911: 840: 745: 725:(1891), which failed. Massenet did not complete his next project, 663: 649: 474: 428: 368: 349:, and closely studied the works of the great German masters, from 238: 178: 72: 38: 5227: 4803: 4141:. Vol. 3 (second ed.). Philadelphia: Theodore Presser. 2400:

Massenet recalled in his memoirs that Hartmann's premises in the

735:

received its first performance in February 1892, when the Vienna

395:, presented in April 1867. At around the same time he composed a 357:

to contemporary composers. During his time in Rome, Massenet met

301:, previous winners of which included Berlioz, Thomas, Gounod and 117:

to grand-scale depictions of classical myths, romantic comedies,

6035: 4710: 4504:

Camille Saint-Saëns et Gabriel Fauré – Correspondance, 1862–1920

3905:

Grove Music Online, Oxford Music Online, retrieved 29 July 2014

2009:

for cello and orchestra, and orchestral suites. Many individual

1275:– both early pieces, the latter lost) and opéra-comique such as 1238:

lists more than thirty writers who provided him with librettos.

5231: 4807: 286:

In 1861 Massenet's music was published for the first time, the

785:(1894), composed for Sanderson, was moderately received. Like 2310: 1782:

The only known recording made by Massenet is an excerpt from

683:, Massenet once more turned to opera on the grand scale with 66:; 12 May 1842 – 13 August 1912) was a French composer of the 30:"Massenet" redirects here. For the fashion entrepreneur, see 4795:: Vocal score (piano reduction), French and English libretto 2366:

This was Massenet's second attempt at the Prix; he gained a

1528: 1300: 1037: 795:

at the Opéra-Comique, and a much greater one in London with

2322: 2301: 2280: 2271: 2239: 2233: 2349:

Massenet was employed as accompanist to the leading tenor

3261:

Music in Art: International Journal for Music Iconography

2525:. She appeared after the composer's death as Postumia in 2289: 2265: 2227: 719:(1889). The latter was a success, but it was followed by 410:

of 1870–71, during which he served as a volunteer in the

4753:(Includes charts, cast lists, programs, and many photos) 4751:"Massenet, Mary Garden, and the Chicago Opera 1910–1932" 4333:(18th ed.). Cambridge: Cambridge University Press. 2653:

The American Heritage Dictionary of the English Language

1763:

Among Massenet's interpreters, clockwise from top left:

1253:

called this view preposterous. He countered, "Who knows

552:, a prestigious honour, rare for a man in his thirties. 1956:. Leading men in recordings of Massenet operas include 270:

pit gave him a good working knowledge of the operas of

4711:

Official website (Association Massenet Internationale)

4506:(in French). Paris: Société française de musicologie. 805:

commented that in this piece Massenet had adopted the

534:

in London. After the first Covent Garden performance,

183:

Massenet's birthplace in Montaud, photographed c. 1908

4717:

All Music biographical notes on Massenet (in English)

4713:, International Massenet Association, founded in 1990 4561:

Sackville-West, Edward; Desmond Shawe-Taylor (1955).

4464:

Massenet, Jules; H Villiers Barnett (trans) (1919) .

2319: 2313: 2298: 2292: 2277: 2268: 2259: 2236: 2230: 4483:

Nectoux, Jean-Michel; Roger Nichols (trans) (1991).

6129: 6074: 6008: 5987: 5274: 5193: 5175: 5157: 5140: 5113: 5070: 4859: 4527:. New Haven, US and London: Yale University Press. 2316: 2307: 2295: 2286: 2274: 2262: 2224: 2221: 6316:Honorary members of the Royal Philharmonic Society 4025:(in French). Paris: Nouvelle Librairie Nationale. 3607:Porter, Andrew. "Tilting in the approved manner", 275:piano accompanist, in the course of which he met 2817:Massenet, p. 16; Finck, p. 24; and Irvine, p. 12 4447:Penguin Guide to Recorded Classical Music, 2009 3202:Massenet's New Success – The Production of his 2049: 1424:(63 productions in all countries), followed by 1409:, where comedy serves a more complex purpose." 1365: 315: 3444:, T. 82, No 2 (1996), pp. 245–267 (in French) 3243: 3241: 2500:that led to the handover from Dubois to Fauré. 2189:, at least as a first-class second-rate one." 1571:Between 1862 and 1900 Massenet composed eight 607:have both considered Massenet an influence on 5243: 4819: 8: 6281:Academic staff of the Conservatoire de Paris 4642:(3rd ed.). Harlow, Essex, UK: Longman. 4274:Massenet – A Chronicle of His Life and Times 3788:"Legendary Piano Recordings – Track listing" 1249:is to have heard the whole of him". In 1994 889:story, which was well received in May 1899. 422:began; the family stayed for some months in 106: 4542:Riding, Alan; Leslie Dunton-Downer (2006). 2758: 2756: 2754: 2389:Il sait tout, mais il manque d'inexpérience 5250: 5236: 5228: 4826: 4812: 4804: 4578:Shaw, Bernard (1981). Dan Laurence (ed.). 3220: 3218: 3188: 3186: 3184: 3182: 2752: 2750: 2748: 2746: 2744: 2742: 2740: 2738: 2736: 2734: 1848:Of Massenet's operas, the two best known, 750:Poster for the first French production of 4787:: Full orchestral score, French text only 4779:: Full orchestral score, French text only 4764:International Music Score Library Project 4487:. Cambridge: Cambridge University Press. 4297:Gabriel Fauré – The Songs and their Poets 4158:(in French). Brussels: Éditions Mardaga. 4138:Grove's Dictionary of Music and Musicians 3977:(in French). Le magazine du monde lyrique 3860: 3858: 3848: 3846: 2883: 2881: 2879: 2877: 2875: 2873: 2871: 2869: 2867: 2865: 2863: 2861: 1554:Performed by l'Atelier Vocal des Herbiers 1224:shows revised versions as premieres, and 1218:Grove's Dictionary of Music and Musicians 1170:Grove's Dictionary of Music and Musicians 399:, which has not survived. In 1868 he met 4770:Indiana University Bloomington Libraries 4331:Cambridge English Pronouncing Dictionary 4299:. Farnham, UK; Burlington, US: Ashgate. 3868:, WorldCat, retrieved 31 July 2014; and 3573: 3571: 3436:Woldu, Gail Hilson and Sophie Queuniet. 2859: 2857: 2855: 2853: 2851: 2849: 2847: 2845: 2843: 2841: 2551:"Un érotisme discret et quasi-réligieux" 621:Operatic successes and failures, 1879–96 500:, his nearest approach to a traditional 3247:Sackville-West and Shawe-Taylor, p. 433 2587: 2448:Debussy's professor of composition was 2202: 1474: 94:, piano pieces, songs and other music. 6311:Grand Officers of the Legion of Honour 4449:. London and New York: Penguin Books. 3355:, 8 May 1896, p. 5; and Nichols, p. 23 3046: 3044: 2956: 2954: 1561: 1341: 1146: 1026:List of compositions by Jules Massenet 468:, both of which were performed at the 247:At the Conservatoire Massenet studied 3801:WorldCat; both retrieved 21 July 2014 3667:"Opera statistics 2012/13 – Massenet" 3580:, OperaGlass, retrieved 5 August 2014 2996: 2994: 2992: 2990: 2988: 2986: 2984: 2606: 2594: 897:, Paris, and at his country house in 283:, was one of his two musical heroes. 61: 7: 4727:Rudolf Lehmann's drawing of Massenet 4667:"Jules Massenet: His Life and Works" 4022:Souvenirs de musique et de musiciens 3822:, WorldCat, retrieved 11 August 2014 3747:, WorldCat, retrieved 10 August 2014 3735:, WorldCat, retrieved 10 August 2014 3669:, Operabase, retrieved 2 August 2014 3657:, Operabase, retrieved 2 August 2014 3364:Massenet, p. 216; and Irvine, p. 204 2060:, "I would give the whole of Bach's 1892:. Conductors on these discs include 1692:for solo violin and orchestra, from 187:Massenet was born on 12 May 1842 at 6109:Tchaikovsky and the Belyayev circle 4485:Gabriel Fauré – A Musical Life 4277:. Portland, Oregon: Amadeus Press. 4135:Fuller Maitland, J A, ed. (1916) . 3883:, WorldCat, retrieved 7 August 2012 3645:, Allmusic, retrieved 2 August 2014 1794:, Saint-Saëns, Debussy and others. 760:Though in the view of some writers 216:and, from either 1851 or 1853, the 6276:20th-century French male musicians 6261:19th-century French male musicians 4618:Saint-Saëns – A Critical Biography 4122:. New York and London: John Lane. 2948:Gallois, p. 96; and Harding, p. 90 2939:Bellaigue, p. 59; and Studd, p. 57 1147:Problems playing these files? See 418:but managed to get out before the 288:Grande Fantasie de Concert sur le 25: 4350:Gabriel Fauré – A Life in Letters 4256:. London: Eyre and Spottiswoode. 3230:The New Grove Dictionary of Opera 3171:The New Grove Dictionary of Opera 2767:The New Grove Dictionary of Opera 2163:The New Grove Dictionary of Opera 1829:). Complete French recordings of 1245:said of Massenet, "to have heard 1227:The New Grove Dictionary of Opera 6266:20th-century classical composers 6251:19th-century classical composers 6214: 6205: 6204: 5212: 5211: 4742:Works by or about Jules Massenet 4640:Longman Pronunciation Dictionary 3969:Bury, Laurent (13 August 2012). 3598:, Volume 61, Issues 46–52, p. 96 2383:A similar remark was made about 2255: 2217: 1707:A Parisian critic, after seeing 1562:Problems playing this file? See 1544: 1499: 1477: 1342:Problems playing this file? See 1319: 1203:List of operas by Jules Massenet 1119: 1088: 1053: 954:. Then came two serious operas, 905:with one of his leading ladies, 532:Royal Opera House, Covent Garden 462:and with the dramatic oratorio, 4665:Fuller, Nick (22 August 2016). 4004:. Lanham, US: Scarecrow Press. 3921:(2003) Vol 84 (3), pp. 507–509 3578:"Jules-Émile-Frédéric Massenet" 3282:, Naxos, retrieved 29 July 2014 2799:Massenet, p. 8 and Irvine, p. 9 2412:all "part of the inner circle". 2126:or the profundity of Debussy's 1698:Le dernier sommeil de la Vierge 1351:In some of his operas, such as 920:for the 1912 Paris première of 212:. Massenet was educated at the 6336:Pupils of Napoléon Henri Reber 4546:. London: Dorling Kindersley. 4213:. London: Chapman & Hall. 4196:(in French). Paris: Champion. 4002:Historical Dictionary of Opera 3950:in Hughes and van Thal, p. 250 3745:"Dernier sommeil de la Vierge" 3543:"Death of M. Jules Massenet", 3008:, September 1912, pp. 565–566 2681:Merriam-Webster.com Dictionary 2486:(1955) observed that although 195:and now a part of the city of 63:[ʒylemilfʁedeʁikmasnɛ] 1: 6271:20th-century French composers 6256:19th-century French composers 4760:Free scores by Jules Massenet 4601:. Stuyvesant, US: Pendragon. 4502:Nectoux, Jean-Michel (1994). 4390:. New York: Greenwood Press. 4232:. London: Osgood, McIlvaine. 3733:"Massenet: Méditation, Thaïs" 3263:, 34/1-2 (2009), pp. 274–289 2656:(5th ed.). HarperCollins 2193:Notes, references and sources 974:. His last major success was 55:Jules Émile Frédéric Massenet 6331:Prix de Rome for composition 6321:Musicians from Saint-Étienne 4371:(in French). Paris: Fayard. 3871:, retrieved 27 December 2017 1674:Orchestral and chamber music 1241:The 1954 (fifth) edition of 1177:), theatrical action (as in 1084:"Pleurez, pleurez, mes yeux" 6296:French male opera composers 6152:Gothic Revival architecture 5133:(arr. Leighton Lucas, 1974) 4729:in the British Museum, 1893 4582:. London: The Bodley Head. 4405:Koechlin, Charles (1976) . 4254:The Music Lover's Companion 4156:Charles-Camille Saint-Saëns 4019:Bellaigue, Camille (1921). 2436:Michel-Dimitri Calvocoressi 2028:Massenet in his later years 1181:), scenic diversion (as in 970:, a terse drama set in the 516:Hungarian State Opera House 433:Poster for the première of 243:Massenet in the early 1860s 27:French composer (1842–1912) 6352: 6093:Neue Zeitschrift für Musik 5268:List of Romantic composers 4211:Saint-Saëns and His Circle 2625:Collins English Dictionary 1200: 1023: 426:, in southwestern France. 29: 6306:French Romantic composers 6184: 5265: 5209: 4988:Le jongleur de Notre-Dame 4841: 4599:Saint-Saëns and the Organ 4470:. Boston: Small Maynard. 4445:March, Ivan, ed. (2008). 4430:. London: Penguin Books. 4409:. London: Dennis Dobson. 4000:Balthazar, Scott (2013). 3852:Blyth (1994), pp. 105–106 3611:, 16 October 1994, p. C18 2509:These were Perséphone in 2402:Boulevard de la Madeleine 2102:Le jongleur de Notre-Dame 1999:, the piano concerto in E 1928:. Among the sopranos and 1878:Le jongleur de Notre-Dame 1406:Le jongleur de Notre-Dame 960:, on the Greek legend of 107: 101:. There he studied under 82:(1892). He also composed 6114:Tchaikovsky and The Five 4756:Scores and Vocal Scores 4687:Massenet and His Letters 4685:Massenet, Anne (2015) . 4672:. MusicWeb International 4407:Gabriel Fauré, 1845–1924 4367:Kaminski, Piotr (2003). 4352:. London: B T Batsford. 4348:Jones, J Barrie (1989). 4077:Cardus, Neville (1961). 3864:March, pp. 734–738; and 3482:, 4 October 2009, p. C17 3464:, February 1971, p. 132 3292:"The Sorrows of Werther" 3061:> "Roi de Lahore, Le" 2209:English pronunciations: 2122:, the genius of Bizet's 1602:as oratorios, only one, 1273:L'écureuil du déshonneur 121:, as well as oratorios, 6291:French ballet composers 4733:Works by Jules Massenet 4620:. London: Cygnus Arts. 4616:Studd, Stephen (1999). 4521:Nichols, Roger (2011). 4427:The Penguin Opera Guide 4229:Masters of French Music 4226:Hervey, Arthur (1894). 4209:Harding, James (1965). 4119:Massenet and His Operas 4062:. London: Kyle Cathie. 3923:(subscription required) 3907:(subscription required) 3797:, Marston Records; and 3758:The Manchester Guardian 3497:(subscription required) 3466:(subscription required) 3446:(subscription required) 3265:(subscription required) 3234:(subscription required) 3175:(subscription required) 3146:(subscription required) 3065:(subscription required) 3010:(subscription required) 2893:(subscription required) 2771:(subscription required) 2708:Encyclopædia Britannica 2351:Gustave-Hippolyte Roger 2114:The Penguin Opera Guide 1938:Victoria de los Ángeles 1777:Victoria de los Ángeles 1718:The Manchester Guardian 1715:in 1885, the critic in 1662:in French translation. 1592:and the later oratorio 811:style of such works as 6301:French opera composers 6137:Common practice period 4597:Smith, Rollin (2010). 4271:Irvine, Demar (1994). 4194:Le groupe Jeune France 4154:Gallois, Jean (2004). 4045:. London: Hutchinson. 3903:"Fuller Maitland, J A" 3892:Fuller Maitland, p. 88 3547:, 14 August 1912, p. 7 3382:Nectoux (1991), p. 227 3192:Macdonald, pp. 216–217 3075:Finck, pp. 185 and 189 2154:in November 1990, the 2054: 2029: 1779: 1533: 1376: 1305: 1042: 951:The Marriage of Figaro 927: 876:, based on a novel by 855: 825:Later years, 1896–1912 757: 659: 490: 443: 377: 331:French Academy in Rome 327: 244: 210:Saint-Germain-des-Prés 184: 51: 4177:. London: Routledge. 4116:Finck, Henry (1910). 4058:Blyth, Alan (1994) . 3909:; and McHale, Maria. 3329:, 21 June 1894, p. 10 3206:and its Great Merits" 3088:, 30 June 1879, p. 13 2781:Massenet, pp. 5 and 7 2083:Edward Sackville-West 2063:Brandenburg Concertos 2027: 1914:Sir Charles Mackerras 1762: 1532: 1334:and Pallavi Mahidhara 1304: 1041: 1008:. The last two, like 915: 885:, his version of the 848:in the title role of 844: 749: 653: 641:Théâtre de la Monnaie 478: 432: 372: 242: 182: 59:French pronunciation: 42: 6174:Romantic nationalism 6120:War of the Romantics 5201:Cercle Funambulesque 4948:Le portrait de Manon 4846:List of compositions 4386:Kelly, Alan (1990). 4173:Gordon, Tom (2013). 4038:Blyth, Alan (1979). 3810:Blyth (1979), p. 500 3793:6 April 2015 at the 3458:"Massenet and after" 3442:Revue de Musicologie 2517:, Queen Amahelli in 2513:, the title role in 2353:, at whose house at 2165:(1992), agrees that 2128:Pelléas et Mélisande 2087:Desmond Shawe-Taylor 1954:Dame Joan Sutherland 1745:Ouverture de Concert 1401:Le portrait de Manon 1268:L'adorable Bel'-Boul 1187:Le portrait de Manon 1185:), or humour (as in 1049:"On l'appelle Manon" 818:Cavalleria rusticana 792:Le portrait de Manon 614:Pelléas et Mélisande 520:Bavarian State Opera 90:, orchestral works, 6169:Musical nationalism 6087:Musical nationalism 5130:L'histoire de Manon 4565:. London: Collins. 4192:Gut, Serge (1984). 4101:. London: Phaidon. 4081:. London: Collins. 3723:Irvine, pp. 229–333 3714:Irvine, pp. 325–326 3705:Hervey, pp. 179–180 3678:Irvine, pp. 326–327 3620:Irvine, pp. 319–320 3556:Irvine, pp. 296–298 3525:Irvine, pp. 264–266 3491:Forbes, Elizabeth. 3409:Irvine, pp. 219–223 3316:Irvine, pp. 193–194 3307:Irvine, pp. 190–192 3084:"Il re di Lahore", 3050:Massenet, pp. 94–95 3000:Calvocoressi, M-D. 2930:Massenet, pp. 27–28 2421:Massenet succeeded 2077:The Daily Telegraph 2038:J A Fuller Maitland 1922:Sir Antonio Pappano 1910:Patrick Fournillier 1749:Ouverture de Phèdre 1508:Georges Rochegrosse 1279:, to grand opera – 1222:Stanford University 962:Theseus and Ariadne 918:Georges Rochegrosse 554:Camille Saint-Saëns 530:in Madrid, and the 408:Franco-Prussian War 339:Alexandre Falguière 218:Paris Conservatoire 191:, then an outlying 132:Gustave Charpentier 99:Paris Conservatoire 6326:Oratorio composers 6082:Indianist movement 6000:Romantic orchestra 4876:Don César de Bazan 4369:Mille et un opéras 4079:Sir Thomas Beecham 3915:by Meirion Hughes" 3760:, 8 May 1885, p. 8 3643:, opera in 5 acts" 3456:Crichton, Ronald. 3342:, 7 May 1896, p. 5 3296:The New York Times 3277:Opera Explained – 3212:, 20 December 1885 3210:The New York Times 2372:Louise de Mézières 2355:Villiers-sur-Marne 2161:Rodney Milnes, in 2148:Mille et un opéras 2030: 1894:Sir Thomas Beecham 1780: 1534: 1389:Don César de Bazan 1306: 1210:Don César de Bazan 1043: 928: 856: 801:at Covent Garden. 770:The New York Times 758: 692:The New York Times 660: 631:Auguste Vaucorbeil 550:Institut de France 491: 470:Théâtre de l'Odéon 449:Don César de Bazan 444: 436:Don César de Bazan 378: 373:Auditorium of the 309:, a cantata about 290:Pardon de Ploërmel 245: 185: 52: 6228: 6227: 6099:New German School 5694:Felix Mendelssohn 5689:Fanny Mendelssohn 5225: 5224: 4737:Project Gutenberg 4649:978-1-4058-8118-0 4340:978-0-521-15255-6 3919:Music and Letters 3756:"Manon Lescaut", 3629:Shaw, pp. 245–246 3462:The Musical Times 3142:"Debussy, Claude" 3006:The Musical Times 2960:Irvine, pp. 31–32 2903:Irvine, pp. 21–22 2889:"Massenet, Jules" 2887:Macdonald, Hugh. 2764:"Massenet, Jules" 2684:. Merriam-Webster 2368:mention honorable 2156:Massenet Festival 2152:Jean-Louis Pichon 2044:The Musical Times 1788:Georgette Leblanc 1549: 1522:Other vocal music 1486:Jean de Paleologu 1325: 1124: 1115:"Vision fugitive" 1093: 1058: 972:French Revolution 481:Philippe Chaperon 441:Célestin Nanteuil 214:Lycée Saint-Louis 16:(Redirected from 6343: 6218: 6208: 6207: 6104:Post-romanticism 5969:Vaughan Williams 5252: 5245: 5238: 5229: 5215: 5214: 5194:Related articles 5158:Incidental music 5103:La Terre Promise 5079:Marie-Magdeleine 4884:Le roi de Lahore 4828: 4821: 4814: 4805: 4746:Internet Archive 4700: 4681: 4679: 4677: 4671: 4653: 4631: 4612: 4593: 4574: 4563:The Record Guide 4557: 4538: 4517: 4498: 4479: 4467:My Recollections 4460: 4441: 4420: 4401: 4382: 4363: 4344: 4310: 4288: 4267: 4250:Herbert van Thal 4241: 4222: 4205: 4188: 4169: 4150: 4131: 4112: 4090: 4073: 4054: 4040:Opera on Record 4034: 4015: 3987: 3986: 3984: 3982: 3966: 3960: 3959:Kaminsky, p. 864 3957: 3951: 3940: 3934: 3931: 3925: 3924: 3908: 3901:Dibble, Jeremy. 3899: 3893: 3890: 3884: 3878: 3872: 3862: 3853: 3850: 3841: 3838: 3832: 3829: 3823: 3817: 3811: 3808: 3802: 3785: 3779: 3776: 3770: 3767: 3761: 3754: 3748: 3742: 3736: 3730: 3724: 3721: 3715: 3712: 3706: 3703: 3697: 3694: 3688: 3685: 3679: 3676: 3670: 3664: 3658: 3652: 3646: 3639:Jules Massenet, 3636: 3630: 3627: 3621: 3618: 3612: 3605: 3599: 3587: 3581: 3575: 3566: 3563: 3557: 3554: 3548: 3541: 3535: 3532: 3526: 3523: 3517: 3514: 3508: 3505: 3499: 3498: 3489: 3483: 3474: 3468: 3467: 3454: 3448: 3447: 3434: 3428: 3425: 3419: 3418:Massenet, p. 216 3416: 3410: 3407: 3401: 3398: 3392: 3389: 3383: 3380: 3374: 3371: 3365: 3362: 3356: 3349: 3343: 3336: 3330: 3323: 3317: 3314: 3308: 3305: 3299: 3289: 3283: 3273: 3267: 3266: 3254: 3248: 3245: 3236: 3235: 3224:Milnes, Rodney. 3222: 3213: 3199: 3193: 3190: 3177: 3176: 3165:Milnes, Rodney. 3163: 3157: 3156:Massenet, p. 126 3154: 3148: 3147: 3134:Lesure, François 3131: 3125: 3122: 3116: 3113: 3107: 3104: 3098: 3095: 3089: 3082: 3076: 3073: 3067: 3066: 3059:Milnes, Rodney. 3057: 3051: 3048: 3039: 3036: 3030: 3027: 3021: 3018: 3012: 3011: 3002:"Jules Massenet" 2998: 2979: 2976: 2970: 2967: 2961: 2958: 2949: 2946: 2940: 2937: 2931: 2928: 2922: 2919: 2913: 2910: 2904: 2901: 2895: 2894: 2885: 2836: 2833: 2827: 2824: 2818: 2815: 2809: 2806: 2800: 2797: 2791: 2788: 2782: 2779: 2773: 2772: 2762:Milnes, Rodney. 2760: 2729: 2726: 2720: 2717: 2711: 2700: 2694: 2693: 2691: 2689: 2672: 2666: 2665: 2663: 2661: 2644: 2638: 2637: 2635: 2633: 2616: 2610: 2604: 2598: 2592: 2577: 2558: 2552: 2549: 2543: 2540: 2534: 2521:and Dulcinée in 2507: 2501: 2497: 2491: 2483:The Record Guide 2478: 2472: 2464:Samson et Delila 2459: 2453: 2446: 2440: 2432: 2426: 2419: 2413: 2398: 2392: 2381: 2375: 2370:for his cantata 2364: 2358: 2347: 2341: 2337: 2331: 2329: 2328: 2325: 2324: 2321: 2318: 2315: 2312: 2309: 2304: 2303: 2300: 2297: 2294: 2291: 2288: 2283: 2282: 2279: 2276: 2273: 2270: 2267: 2264: 2261: 2254: 2246: 2245: 2242: 2241: 2238: 2235: 2232: 2229: 2226: 2223: 2216: 2207: 2092:The Record Guide 2004: 2003: 1990:Rolando Villazón 1962:Gabriel Bacquier 1950:Angela Gheorghiu 1934:Dame Janet Baker 1902:Riccardo Chailly 1610:Marie-Magdeleine 1605:La terre promise 1590:Marie-Magdeleine 1586:Marie-Magdeleine 1551: 1550: 1531: 1503: 1481: 1327: 1326: 1312:Méditation from 1303: 1285:Le roi de Lahore 1214:Le roi de Lahore 1137:Charles W. Clark 1126: 1125: 1106:Marguerita Sylva 1095: 1094: 1075:Geraldine Farrar 1060: 1059: 1040: 903:amitié amoureuse 895:rue de Vaugirard 593:Charles Koechlin 546:Legion of Honour 526:in Dresden, the 497:Le roi de Lahore 486:Le roi de Lahore 465:Marie-Magdeleine 454:Leconte de Lisle 401:Georges Hartmann 341:and the painter 307:Gustave Chouquet 279:who, along with 226:Fromental Halévy 112: 111: 92:incidental music 65: 60: 32:Natalie Massenet 21: 6351: 6350: 6346: 6345: 6344: 6342: 6341: 6340: 6231: 6230: 6229: 6224: 6201: 6197:Modernist music 6193: 6190:Classical music 6180: 6125: 6070: 6051:Romantic ballet 6046:Orchestral song 6026:Chorale prelude 6021:Character piece 6004: 5995:Romantic guitar 5988:Instrumentation 5983: 5819:Rimsky-Korsakov 5439:Ferdinand David 5276: 5270: 5261: 5256: 5226: 5221: 5205: 5189: 5171: 5153: 5136: 5109: 5066: 4855: 4837: 4832: 4707: 4697: 4684: 4675: 4673: 4669: 4664: 4661: 4659:Further reading 4656: 4650: 4634: 4628: 4615: 4609: 4596: 4590: 4577: 4560: 4554: 4541: 4535: 4520: 4514: 4501: 4495: 4482: 4463: 4457: 4444: 4438: 4423: 4417: 4404: 4398: 4385: 4379: 4366: 4360: 4347: 4341: 4313: 4307: 4293:Johnson, Graham 4291: 4285: 4270: 4264: 4252:, eds. (1971). 4246:Hughes, Gervase 4244: 4225: 4208: 4191: 4185: 4175:Regarding Fauré 4172: 4166: 4153: 4134: 4115: 4109: 4095:Duchen, Jessica 4093: 4076: 4070: 4057: 4037: 4018: 4012: 3999: 3995: 3990: 3980: 3978: 3968: 3967: 3963: 3958: 3954: 3941: 3937: 3932: 3928: 3922: 3906: 3900: 3896: 3891: 3887: 3879: 3875: 3863: 3856: 3851: 3844: 3839: 3835: 3830: 3826: 3818: 3814: 3809: 3805: 3795:Wayback Machine 3786: 3782: 3777: 3773: 3768: 3764: 3755: 3751: 3743: 3739: 3731: 3727: 3722: 3718: 3713: 3709: 3704: 3700: 3695: 3691: 3686: 3682: 3677: 3673: 3665: 3661: 3653: 3649: 3637: 3633: 3628: 3624: 3619: 3615: 3606: 3602: 3588: 3584: 3576: 3569: 3564: 3560: 3555: 3551: 3542: 3538: 3533: 3529: 3524: 3520: 3515: 3511: 3506: 3502: 3496: 3490: 3486: 3475: 3471: 3465: 3455: 3451: 3445: 3435: 3431: 3426: 3422: 3417: 3413: 3408: 3404: 3399: 3395: 3390: 3386: 3381: 3377: 3372: 3368: 3363: 3359: 3350: 3346: 3337: 3333: 3325:"Royal Opera", 3324: 3320: 3315: 3311: 3306: 3302: 3298:, 20 April 1894 3290: 3286: 3274: 3270: 3264: 3256:Rowden, Clair. 3255: 3251: 3246: 3239: 3233: 3223: 3216: 3200: 3196: 3191: 3180: 3174: 3164: 3160: 3155: 3151: 3145: 3132: 3128: 3123: 3119: 3114: 3110: 3106:Massenet, p. 65 3105: 3101: 3096: 3092: 3083: 3079: 3074: 3070: 3064: 3058: 3054: 3049: 3042: 3037: 3033: 3029:Massenet, p. 73 3028: 3024: 3020:Massenet, p. 81 3019: 3015: 3009: 2999: 2982: 2978:Massenet, p. 63 2977: 2973: 2968: 2964: 2959: 2952: 2947: 2943: 2938: 2934: 2929: 2925: 2920: 2916: 2911: 2907: 2902: 2898: 2892: 2886: 2839: 2834: 2830: 2826:Massenet, p. 18 2825: 2821: 2816: 2812: 2807: 2803: 2798: 2794: 2789: 2785: 2780: 2776: 2770: 2761: 2732: 2727: 2723: 2718: 2714: 2701: 2697: 2687: 2685: 2674: 2673: 2669: 2659: 2657: 2646: 2645: 2641: 2631: 2629: 2628:. HarperCollins 2618: 2617: 2613: 2605: 2601: 2593: 2589: 2585: 2580: 2574:Richard Strauss 2559: 2555: 2550: 2546: 2541: 2537: 2529:and Colombe in 2508: 2504: 2498: 2494: 2479: 2475: 2460: 2456: 2447: 2443: 2433: 2429: 2420: 2416: 2399: 2395: 2382: 2378: 2365: 2361: 2348: 2344: 2338: 2334: 2306: 2285: 2258: 2249: 2248: 2220: 2211: 2210: 2208: 2204: 2200: 2195: 2187:Richard Strauss 2066:for Massenet's 2022: 2001: 2000: 1966:Plácido Domingo 1906:Sir Colin Davis 1898:Richard Bonynge 1837:, conducted by 1815:Hector Dufranne 1799:Ernest van Dyck 1757: 1709:La grand' tante 1676: 1658:in English and 1569: 1568: 1560: 1558: 1557: 1556: 1555: 1552: 1545: 1542: 1535: 1529: 1524: 1517: 1504: 1495: 1482: 1349: 1348: 1340: 1338: 1337: 1336: 1335: 1328: 1320: 1317: 1307: 1301: 1205: 1199: 1154: 1153: 1145: 1143: 1142: 1141: 1140: 1135:, performed by 1127: 1120: 1117: 1111: 1110: 1109: 1104:, performed by 1096: 1089: 1086: 1080: 1079: 1078: 1069:, performed by 1061: 1054: 1051: 1044: 1038: 1033: 1028: 1022: 832:Théodore Dubois 827: 707:Sibyl Sanderson 623: 605:Francis Poulenc 367: 333:, based at the 253:Augustin Savard 230:Ambroise Thomas 177: 172: 136:Ernest Chausson 103:Ambroise Thomas 58: 46:of Massenet by 35: 28: 23: 22: 15: 12: 11: 5: 6349: 6347: 6339: 6338: 6333: 6328: 6323: 6318: 6313: 6308: 6303: 6298: 6293: 6288: 6283: 6278: 6273: 6268: 6263: 6258: 6253: 6248: 6243: 6233: 6232: 6226: 6225: 6223: 6222: 6212: 6194: 6186: 6185: 6182: 6181: 6179: 6178: 6177: 6176: 6166: 6165: 6164: 6159: 6154: 6149: 6139: 6133: 6131: 6127: 6126: 6124: 6123: 6116: 6111: 6106: 6101: 6096: 6089: 6084: 6078: 6076: 6072: 6071: 6069: 6068: 6063: 6061:Symphonic poem 6058: 6056:Romantic opera 6053: 6048: 6043: 6038: 6033: 6028: 6023: 6018: 6012: 6010: 6006: 6005: 6003: 6002: 5997: 5991: 5989: 5985: 5984: 5982: 5981: 5976: 5971: 5966: 5961: 5956: 5951: 5946: 5941: 5936: 5931: 5926: 5921: 5916: 5911: 5906: 5901: 5896: 5891: 5886: 5881: 5876: 5871: 5866: 5861: 5856: 5851: 5846: 5841: 5836: 5831: 5826: 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3885: 3881:"Ivre d'amour" 3873: 3854: 3842: 3833: 3824: 3812: 3803: 3780: 3771: 3762: 3749: 3737: 3725: 3716: 3707: 3698: 3689: 3687:Irvine, p. 116 3680: 3671: 3659: 3647: 3631: 3622: 3613: 3600: 3595:The New Yorker 3582: 3567: 3558: 3549: 3536: 3527: 3518: 3516:Irvine, p. 257 3509: 3500: 3493:"Arbell, Lucy" 3484: 3469: 3449: 3429: 3427:Irvine, p. 206 3420: 3411: 3402: 3393: 3391:Irvine, p. 209 3384: 3375: 3366: 3357: 3344: 3331: 3318: 3309: 3300: 3284: 3268: 3249: 3237: 3214: 3194: 3178: 3158: 3149: 3126: 3124:Koechlin, p. 8 3117: 3108: 3099: 3090: 3077: 3068: 3052: 3040: 3031: 3022: 3013: 2980: 2971: 2969:Massenet p. 50 2962: 2950: 2941: 2932: 2923: 2914: 2905: 2896: 2837: 2828: 2819: 2810: 2801: 2792: 2783: 2774: 2730: 2721: 2712: 2703:Jules Massenet 2695: 2667: 2639: 2611: 2599: 2586: 2584: 2581: 2579: 2578: 2553: 2544: 2535: 2502: 2492: 2473: 2471:, incompetent. 2454: 2450:Ernest Guiraud 2441: 2427: 2423:François Bazin 2414: 2393: 2376: 2359: 2342: 2332: 2201: 2199: 2196: 2194: 2191: 2058:Neville Cardus 2021: 2018: 1974:Jonas Kaufmann 1970:Thomas Hampson 1958:Roberto Alagna 1942:Natalie Dessay 1926:Michel Plasson 1918:Pierre Monteux 1773:Roberto Alagna 1765:Pierre Monteux 1756: 1753: 1675: 1672: 1632:légende sacrée 1581:Vincent d'Indy 1559: 1553: 1543: 1538: 1537: 1536: 1527: 1526: 1525: 1523: 1520: 1519: 1518: 1505: 1498: 1496: 1483: 1476: 1339: 1329: 1318: 1310: 1309: 1308: 1299: 1298: 1297: 1198: 1195: 1144: 1128: 1118: 1113: 1112: 1097: 1087: 1082: 1081: 1062: 1052: 1047: 1046: 1045: 1036: 1035: 1034: 1032: 1029: 1021: 1018: 980:(1910), which 932:piano concerto 826: 823: 622: 619: 601:Romain Rolland 506:Palais Garnier 416:siege of Paris 412:National Guard 392:La grand'tante 366: 363: 234:Michele Carafa 176: 173: 171: 168: 144:Gabriel Pierné 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6348: 6337: 6334: 6332: 6329: 6327: 6324: 6322: 6319: 6317: 6314: 6312: 6309: 6307: 6304: 6302: 6299: 6297: 6294: 6292: 6289: 6287: 6284: 6282: 6279: 6277: 6274: 6272: 6269: 6267: 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Strauss II 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5870: 5867: 5865: 5862: 5860: 5857: 5855: 5852: 5850: 5847: 5845: 5842: 5840: 5837: 5835: 5832: 5830: 5827: 5825: 5822: 5820: 5817: 5815: 5812: 5810: 5807: 5805: 5802: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5735: 5732: 5730: 5727: 5725: 5722: 5720: 5717: 5715: 5712: 5710: 5707: 5705: 5702: 5700: 5697: 5695: 5692: 5690: 5687: 5685: 5682: 5680: 5677: 5675: 5672: 5670: 5667: 5665: 5662: 5660: 5657: 5655: 5652: 5650: 5647: 5645: 5642: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5600: 5597: 5595: 5592: 5590: 5587: 5585: 5582: 5580: 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5557: 5555: 5552: 5550: 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5505: 5502: 5500: 5497: 5495: 5492: 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Quichotte 5025: 5022: 5021: 5017: 5014: 5013: 5009: 5006: 5005: 5001: 4998: 4997: 4993: 4990: 4989: 4985: 4982: 4981: 4977: 4974: 4973: 4969: 4966: 4965: 4961: 4958: 4957: 4956:La Navarraise 4953: 4950: 4949: 4945: 4942: 4941: 4937: 4934: 4933: 4929: 4926: 4925: 4921: 4918: 4917: 4913: 4910: 4909: 4905: 4902: 4901: 4897: 4894: 4893: 4889: 4886: 4885: 4881: 4878: 4877: 4873: 4870: 4869: 4865: 4864: 4862: 4858: 4852: 4849: 4847: 4844: 4843: 4840: 4836: 4829: 4824: 4822: 4817: 4815: 4810: 4809: 4806: 4796: 4794: 4793:Don Quichotte 4790: 4788: 4786: 4782: 4780: 4778: 4774: 4773: 4771: 4768: 4765: 4761: 4758: 4757: 4755: 4752: 4749: 4747: 4743: 4740: 4738: 4734: 4731: 4728: 4725: 4723: 4720: 4718: 4715: 4712: 4709: 4708: 4704: 4698: 4692: 4688: 4683: 4668: 4663: 4662: 4658: 4651: 4645: 4641: 4637: 4633: 4629: 4623: 4619: 4614: 4610: 4604: 4600: 4595: 4591: 4585: 4581: 4576: 4572: 4568: 4564: 4559: 4555: 4549: 4545: 4540: 4536: 4530: 4526: 4525: 4519: 4515: 4509: 4505: 4500: 4496: 4490: 4486: 4481: 4477: 4473: 4469: 4468: 4462: 4458: 4452: 4448: 4443: 4439: 4433: 4429: 4428: 4422: 4418: 4412: 4408: 4403: 4399: 4393: 4389: 4384: 4380: 4374: 4370: 4365: 4361: 4355: 4351: 4346: 4342: 4336: 4332: 4328: 4324: 4320: 4316: 4315:Jones, Daniel 4312: 4308: 4302: 4298: 4294: 4290: 4286: 4280: 4276: 4275: 4269: 4265: 4259: 4255: 4251: 4247: 4243: 4239: 4235: 4231: 4230: 4224: 4220: 4216: 4212: 4207: 4203: 4199: 4195: 4190: 4186: 4180: 4176: 4171: 4167: 4161: 4157: 4152: 4148: 4144: 4140: 4139: 4133: 4129: 4125: 4121: 4120: 4114: 4110: 4104: 4100: 4099:Gabriel Fauré 4096: 4092: 4088: 4084: 4080: 4075: 4071: 4065: 4061: 4056: 4052: 4048: 4044: 4041: 4036: 4032: 4028: 4024: 4023: 4017: 4013: 4007: 4003: 3998: 3997: 3992: 3976: 3972: 3965: 3962: 3956: 3953: 3949: 3945: 3939: 3936: 3933:Cardus, p. 29 3930: 3927: 3920: 3916: 3914: 3904: 3898: 3895: 3889: 3886: 3882: 3877: 3874: 3870: 3867: 3861: 3859: 3855: 3849: 3847: 3843: 3840:Kelly, p. 173 3837: 3834: 3831:Kelly, p. 123 3828: 3825: 3821: 3816: 3813: 3807: 3804: 3800: 3796: 3792: 3789: 3784: 3781: 3778:Finck, p. 233 3775: 3772: 3769:Irvine, p. 61 3766: 3763: 3759: 3753: 3750: 3746: 3741: 3738: 3734: 3729: 3726: 3720: 3717: 3711: 3708: 3702: 3699: 3693: 3690: 3684: 3681: 3675: 3672: 3668: 3663: 3660: 3656: 3651: 3648: 3644: 3642: 3635: 3632: 3626: 3623: 3617: 3614: 3610: 3604: 3601: 3597: 3596: 3591: 3586: 3583: 3579: 3574: 3572: 3568: 3562: 3559: 3553: 3550: 3546: 3540: 3537: 3534:Finck, p. 222 3531: 3528: 3522: 3519: 3513: 3510: 3507:Finck, p. 209 3504: 3501: 3494: 3488: 3485: 3481: 3480: 3473: 3470: 3463: 3459: 3453: 3450: 3443: 3439: 3433: 3430: 3424: 3421: 3415: 3412: 3406: 3403: 3400:Finck, p. 117 3397: 3394: 3388: 3385: 3379: 3376: 3370: 3367: 3361: 3358: 3354: 3348: 3345: 3341: 3335: 3332: 3328: 3322: 3319: 3313: 3310: 3304: 3301: 3297: 3293: 3288: 3285: 3281: 3280: 3272: 3269: 3262: 3259: 3253: 3250: 3244: 3242: 3238: 3231: 3227: 3221: 3219: 3215: 3211: 3207: 3205: 3198: 3195: 3189: 3187: 3185: 3183: 3179: 3172: 3168: 3162: 3159: 3153: 3150: 3143: 3139: 3135: 3130: 3127: 3121: 3118: 3115:Smith, p. 119 3112: 3109: 3103: 3100: 3097:Irvine, p. 20 3094: 3091: 3087: 3081: 3078: 3072: 3069: 3062: 3056: 3053: 3047: 3045: 3041: 3038:Irvine, p. 58 3035: 3032: 3026: 3023: 3017: 3014: 3007: 3003: 2997: 2995: 2993: 2991: 2989: 2987: 2985: 2981: 2975: 2972: 2966: 2963: 2957: 2955: 2951: 2945: 2942: 2936: 2933: 2927: 2924: 2921:Irvine, p. 25 2918: 2915: 2912:Irvine, p. 24 2909: 2906: 2900: 2897: 2890: 2884: 2882: 2880: 2878: 2876: 2874: 2872: 2870: 2868: 2866: 2864: 2862: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2844: 2842: 2838: 2835:Irvine, p. 15 2832: 2829: 2823: 2820: 2814: 2811: 2808:Irvine, p. 11 2805: 2802: 2796: 2793: 2787: 2784: 2778: 2775: 2768: 2765: 2759: 2757: 2755: 2753: 2751: 2749: 2747: 2745: 2743: 2741: 2739: 2737: 2735: 2731: 2725: 2722: 2716: 2713: 2710: 2709: 2704: 2699: 2696: 2683: 2682: 2677: 2671: 2668: 2655: 2654: 2649: 2643: 2640: 2627: 2626: 2621: 2615: 2612: 2608: 2603: 2600: 2596: 2591: 2588: 2582: 2575: 2571: 2567: 2563: 2557: 2554: 2548: 2545: 2539: 2536: 2532: 2528: 2524: 2523:Don Quichotte 2520: 2516: 2512: 2506: 2503: 2496: 2493: 2489: 2485: 2484: 2477: 2474: 2470: 2466: 2465: 2458: 2455: 2451: 2445: 2442: 2437: 2431: 2428: 2424: 2418: 2415: 2411: 2407: 2403: 2397: 2394: 2390: 2386: 2380: 2377: 2373: 2369: 2363: 2360: 2356: 2352: 2346: 2343: 2336: 2333: 2327: 2252: 2244: 2214: 2206: 2203: 2197: 2192: 2190: 2188: 2184: 2183:Don Quichotte 2180: 2176: 2172: 2168: 2164: 2159: 2157: 2153: 2149: 2145: 2141: 2137: 2133: 2129: 2125: 2121: 2120: 2115: 2111: 2107: 2106:Don Quichotte 2103: 2099: 2094: 2093: 2089:commented in 2088: 2084: 2079: 2078: 2073: 2072:Martin Cooper 2069: 2065: 2064: 2059: 2053: 2048: 2046: 2045: 2039: 2035: 2026: 2019: 2017: 2014: 2013: 2008: 1998: 1993: 1991: 1987: 1983: 1979: 1975: 1971: 1967: 1963: 1959: 1955: 1951: 1947: 1946:Renée Fleming 1943: 1939: 1935: 1931: 1927: 1923: 1919: 1915: 1911: 1907: 1903: 1899: 1895: 1891: 1887: 1886:La Navarraise 1883: 1879: 1875: 1871: 1867: 1866:Don Quichotte 1863: 1859: 1855: 1851: 1846: 1844: 1840: 1836: 1832: 1828: 1824: 1823:Vanni Marcoux 1820: 1816: 1812: 1808: 1804: 1800: 1795: 1793: 1789: 1785: 1778: 1774: 1770: 1769:Renée Fleming 1766: 1761: 1754: 1752: 1750: 1746: 1742: 1738: 1734: 1729: 1724: 1720: 1719: 1714: 1710: 1705: 1703: 1699: 1695: 1691: 1690: 1685: 1681: 1673: 1671: 1669: 1665: 1661: 1657: 1653: 1649: 1645: 1641: 1635: 1633: 1629: 1628: 1623: 1619: 1615: 1611: 1607: 1606: 1601: 1597: 1596: 1591: 1587: 1582: 1578: 1574: 1567: 1565: 1541: 1521: 1515: 1514: 1513:Don Quichotte 1509: 1502: 1497: 1493: 1492: 1487: 1480: 1475: 1473: 1471: 1467: 1463: 1459: 1455: 1451: 1447: 1443: 1442:La Navarraise 1439: 1435: 1431: 1430:Don Quichotte 1427: 1423: 1419: 1415: 1412:According to 1410: 1408: 1407: 1402: 1398: 1394: 1390: 1387:succeed, but 1386: 1385:Don Quichotte 1382: 1375: 1373: 1372: 1364: 1362: 1358: 1354: 1347: 1345: 1333: 1330:Performed by 1316: 1315: 1296: 1294: 1290: 1286: 1282: 1278: 1274: 1270: 1269: 1264: 1263:Don Quichotte 1260: 1256: 1252: 1251:Andrew Porter 1248: 1244: 1239: 1237: 1231: 1229: 1228: 1223: 1219: 1215: 1211: 1204: 1196: 1194: 1190: 1188: 1184: 1180: 1176: 1172: 1171: 1166: 1161: 1159: 1152: 1150: 1138: 1134: 1133: 1116: 1107: 1103: 1102: 1085: 1076: 1072: 1071:Enrico Caruso 1068: 1067: 1050: 1030: 1027: 1019: 1017: 1013: 1011: 1007: 1006: 1001: 1000: 995: 994: 989: 988: 983: 979: 978: 977:Don Quichotte 973: 969: 968: 963: 959: 958: 953: 952: 947: 943: 942: 937: 933: 925: 924: 919: 914: 910: 908: 904: 900: 896: 890: 888: 884: 879: 875: 874: 869: 868: 863: 862: 853: 852: 847: 843: 839: 837: 836:Gabriel Fauré 833: 824: 822: 820: 819: 814: 810: 809: 804: 800: 799: 798:La Navarraise 794: 793: 788: 784: 783: 778: 776: 771: 767: 763: 755: 754: 748: 744: 742: 738: 734: 730: 729: 724: 723: 718: 717: 712: 708: 705: 701: 700: 694: 693: 688: 687: 682: 678: 677: 672: 671: 666: 665: 658:, March 1894. 657: 656:La Silhouette 652: 648: 646: 642: 638: 637: 632: 628: 620: 618: 616: 615: 610: 606: 602: 598: 597:Rodney Milnes 594: 590: 586: 582: 578: 574: 570: 566: 562: 557: 555: 551: 547: 542: 539: 538: 533: 529: 525: 521: 517: 513: 512: 507: 503: 499: 498: 488: 487: 482: 477: 473: 471: 467: 466: 461: 460: 455: 451: 450: 442: 438: 437: 431: 427: 425: 421: 420:Paris Commune 417: 413: 409: 404: 402: 398: 394: 393: 388: 387:opéra comique 384: 383:Opéra-Comique 376: 375:Opéra-Comique 371: 364: 362: 360: 356: 352: 348: 344: 343:Carolus-Duran 340: 336: 332: 326: 324: 320: 314: 312: 308: 304: 300: 296: 295: 291: 284: 282: 278: 273: 268: 264: 259: 254: 250: 241: 237: 235: 231: 227: 223: 219: 215: 211: 206: 202: 198: 197:Saint-Étienne 194: 190: 181: 174: 169: 167: 165: 161: 157: 153: 147: 145: 141: 140:Reynaldo Hahn 137: 133: 127: 124: 120: 116: 115:opéra-comique 110: 104: 100: 95: 93: 89: 85: 81: 80: 75: 74: 69: 64: 56: 49: 45: 41: 37: 33: 19: 6286:Belle Époque 6195: 6188: 6091: 6075:Other topics 5899:J. Strauss I 5789:Rachmaninoff 5673: 5544:Gretchaninov 5216: 5182: 5166:Les Érinnyes 5164: 5128: 5120: 5101: 5093: 5085: 5077: 5058: 5050: 5042: 5034: 5026: 5018: 5010: 5002: 4994: 4986: 4978: 4970: 4962: 4954: 4946: 4938: 4930: 4922: 4914: 4906: 4898: 4890: 4882: 4874: 4866: 4834: 4792: 4784: 4776: 4686: 4674:. Retrieved 4639: 4617: 4598: 4579: 4562: 4543: 4523: 4503: 4484: 4466: 4446: 4426: 4406: 4387: 4368: 4349: 4330: 4327:Esling, John 4323:Setter, Jane 4319:Roach, Peter 4296: 4273: 4253: 4228: 4210: 4193: 4174: 4155: 4137: 4118: 4098: 4078: 4059: 4043: 4039: 4021: 4001: 3979:. Retrieved 3974: 3964: 3955: 3947: 3944:French Music 3943: 3938: 3929: 3918: 3912: 3897: 3888: 3876: 3836: 3827: 3815: 3806: 3783: 3774: 3765: 3757: 3752: 3740: 3728: 3719: 3710: 3701: 3692: 3683: 3674: 3662: 3650: 3640: 3634: 3625: 3616: 3609:The Observer 3608: 3603: 3593: 3589: 3585: 3565:Shaw, p. 244 3561: 3552: 3544: 3539: 3530: 3521: 3512: 3503: 3487: 3479:The Observer 3477: 3472: 3461: 3452: 3441: 3432: 3423: 3414: 3405: 3396: 3387: 3378: 3369: 3360: 3352: 3347: 3339: 3334: 3326: 3321: 3312: 3303: 3295: 3287: 3278: 3271: 3260: 3252: 3229: 3209: 3203: 3197: 3170: 3161: 3152: 3129: 3120: 3111: 3102: 3093: 3085: 3080: 3071: 3055: 3034: 3025: 3016: 3005: 2974: 2965: 2944: 2935: 2926: 2917: 2908: 2899: 2831: 2822: 2813: 2804: 2795: 2790:Irvine, p. 9 2786: 2777: 2766: 2728:Irvine, p. 2 2724: 2719:Irvine, p. 1 2715: 2706: 2698: 2686:. Retrieved 2679: 2670: 2658:. Retrieved 2651: 2642: 2630:. Retrieved 2623: 2614: 2602: 2590: 2556: 2547: 2538: 2530: 2526: 2522: 2518: 2514: 2510: 2505: 2495: 2487: 2481: 2476: 2469:Paul Milliet 2462: 2457: 2444: 2430: 2417: 2396: 2388: 2379: 2371: 2367: 2362: 2345: 2335: 2205: 2182: 2178: 2174: 2170: 2166: 2162: 2160: 2147: 2143: 2140:belle époque 2135: 2131: 2127: 2123: 2117: 2113: 2109: 2105: 2101: 2097: 2090: 2075: 2067: 2061: 2055: 2050: 2042: 2033: 2031: 2010: 2006: 1996: 1994: 1978:José van Dam 1889: 1885: 1881: 1877: 1873: 1869: 1865: 1861: 1857: 1853: 1849: 1847: 1834: 1830: 1826: 1818: 1810: 1802: 1796: 1783: 1781: 1748: 1744: 1740: 1736: 1722: 1716: 1712: 1708: 1706: 1701: 1697: 1693: 1687: 1679: 1677: 1663: 1636: 1631: 1625: 1621: 1617: 1613: 1609: 1603: 1599: 1593: 1589: 1585: 1570: 1540:"Notre Père" 1511: 1489: 1469: 1465: 1461: 1457: 1453: 1449: 1445: 1441: 1437: 1433: 1429: 1425: 1421: 1411: 1404: 1400: 1396: 1392: 1388: 1384: 1380: 1377: 1369: 1366: 1360: 1356: 1352: 1350: 1313: 1292: 1288: 1284: 1283:categorises 1280: 1276: 1272: 1266: 1262: 1258: 1254: 1246: 1242: 1240: 1235: 1232: 1225: 1217: 1213: 1209: 1206: 1191: 1186: 1182: 1178: 1174: 1168: 1165:Bernard Shaw 1162: 1155: 1130: 1099: 1064: 1014: 1009: 1003: 997: 991: 985: 981: 975: 965: 955: 949: 939: 936:Louis Diémer 929: 921: 902: 891: 882: 871: 865: 859: 857: 849: 828: 816: 806: 802: 796: 790: 786: 780: 779: 774: 769: 765: 761: 759: 751: 740: 732: 726: 720: 714: 710: 697: 690: 684: 680: 674: 673:and Bizet's 668: 662: 661: 655: 634: 624: 612: 558: 543: 535: 509: 495: 492: 484: 463: 459:Les Érinnyes 457: 447: 445: 434: 405: 390: 379: 335:Villa Medici 328: 325:experience!" 322: 318: 316: 311:David Rizzio 299:Prix de Rome 287: 285: 246: 222:Daniel Auber 204: 186: 164:Belle Époque 148: 128: 119:lyric dramas 109:Prix de Rome 96: 77: 71: 68:Romantic era 54: 53: 48:Eugène Pirou 44:Cabinet card 36: 6246:1912 deaths 6241:1842 births 6142:Romanticism 5924:Tchaikovsky 5859:R. Schumann 5854:C. Schumann 5839:Saint-Saëns 5734:Niedermeyer 5624:Leoncavallo 5594:Kalkbrenner 5369:Bortkiewicz 5176:Other works 4916:Esclarmonde 4060:Opera on CD 3655:"Composers" 3167:"Hérodiade" 2385:Saint-Saëns 2119:Les Troyens 1997:Le carillon 1986:Tito Schipa 1982:Alain Vanzo 1870:Esclarmonde 1747:(1863) and 1743:(1891), an 1733:concertante 1728:sonata form 1680:Le carillon 1670:and Fauré. 1614:drame sacré 1462:Esclarmonde 1353:Esclarmonde 1332:Bomsori Kim 1183:Esclarmonde 907:Lucy Arbell 846:Mary Garden 716:Esclarmonde 627:Paris Opéra 565:Charpentier 528:Teatro Real 511:Mahabharata 502:grand opera 456:'s tragedy 365:Early works 359:Franz Liszt 263:Henry Finck 175:Early years 76:(1884) and 6235:Categories 6130:Background 6031:Intermezzo 5964:Wieniawski 5944:Vieuxtemps 5909:R. Strauss 5834:Rubinstein 5759:Paderewski 5729:Mussorgsky 5724:Moszkowski 5699:Mercadante 5184:Méditation 4980:Grisélidis 4972:Cendrillon 4696:1576472086 4627:1900541653 4608:1576471802 4589:0370302478 4553:1405312793 4534:0300108826 4513:2853570045 4494:0521235243 4456:0141041625 4437:014051385X 4416:0404146791 4397:0313273332 4378:2213600171 4359:0713454687 4306:0754659607 4284:1574670247 4263:0413279200 4184:130622196X 4165:2870098510 4108:0714839329 4069:1856261034 4011:0810867680 3866:"Massenet" 3696:Gut, p. 90 3351:"France", 2676:"Massenet" 2648:"Massenet" 2620:"Massenet" 2607:Jones 2011 2595:Wells 2008 2583:References 2387:in 1864: " 2175:Cendrillon 2110:Cendrillon 2098:Grisélidis 2020:Reputation 1858:Cendrillon 1843:Alan Blyth 1839:Élie Cohen 1819:Grisélidis 1807:Emma Calvé 1755:Recordings 1723:confrère's 1689:Méditation 1644:Maupassant 1630:(1880) a " 1564:media help 1506:Poster by 1484:Poster by 1438:Cendrillon 1381:Cendrillon 1371:leit motif 1344:media help 1201:See also: 1149:media help 1031:Background 1024:See also: 916:Poster by 887:Cinderella 883:Cendrillon 867:Cendrillon 861:Grisélidis 713:and wrote 524:Semperoper 479:Design by 347:St Peter's 267:Montmartre 5744:Offenbach 5719:Moscheles 5714:Moniuszko 5709:Meyerbeer 5664:Marschner 5649:MacDowell 5464:Donizetti 5409:Cherubini 5399:Chaminade 5324:Beethoven 5309:Balakirev 5299:Atterberg 5277:musicians 5095:La Vierge 5071:Oratorios 5052:Cléopâtre 4892:Hérodiade 4676:22 August 4571:500373060 4476:774419363 4147:317326125 4051:874515332 3981:20 August 3545:The Times 3353:The Times 3340:The Times 3338:"Paris", 3327:The Times 3226:"Werther" 3138:Roy Howat 3086:The Times 2439:example." 2374:in 1862. 2007:Fantaisie 1874:Hérodiade 1702:La Vierge 1627:La Vierge 1573:oratorios 1458:Hérodiade 1446:Cléopâtre 1418:Offenbach 1414:Operabase 1293:Hérodiade 1132:Hérodiade 1005:Cléopâtre 899:Égreville 803:The Times 636:Hérodiade 629:in 1879. 537:The Times 294:Meyerbeer 199:, in the 170:Biography 84:oratorios 6210:Category 6187: ← 6066:Symphony 5929:Thalberg 5894:Spontini 5869:Sibelius 5864:Scriabin 5849:Schubert 5844:Sarasate 5809:Respighi 5804:Reinecke 5764:Paganini 5674:Massenet 5669:Masarnau 5654:Madetoja 5599:Kreisler 5589:Kalivoda 5534:J. Gomis 5519:Glazunov 5514:Giuliani 5404:Chausson 5394:Chadwick 5384:Bruckner 5218:Category 5141:Concerto 4996:Chérubin 4638:(2008). 4329:(eds.). 4317:(2011). 4295:(2009). 4219:60222627 4202:13515287 4097:(2000). 4042:Volume 1 4031:15309469 3946:(1951), 3942:Cooper, 3791:Archived 2688:4 August 2660:4 August 2632:4 August 2562:Sullivan 2012:mélodies 2002:♭ 1656:Tennyson 1577:cantatas 1468:(2) and 1466:Chérubin 982:L'Etoile 941:Chérubin 851:Chérubin 813:Mascagni 645:La Scala 569:Chausson 258:Chambéry 123:cantatas 18:Massenet 6200:→ 6162:Science 6041:Mazurka 6016:Ballade 5949:Voříšek 5919:Tárrega 5914:Taneyev 5874:Smetana 5829:Rossini 5784:Puccini 5779:Prudent 5739:Nielsen 5704:Méreaux 5679:Medtner 5644:Lysenko 5614:Lachner 5579:Joachim 5559:Herbert 5479:Farrenc 5444:Delibes 5419:Crusell 5364:Borodin 5354:Berwald 5344:Berlioz 5334:Bennett 5329:Bellini 5314:Bazzini 5294:Arensky 5114:Ballets 5044:Panurge 5020:Bacchus 5012:Thérèse 4932:Werther 4924:Le Mage 4777:Werther 4766:(IMSLP) 4762:at the 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