The success of _l'Etoile du Nord_, performed at the _Opéra-Comique_, Feb.
16, 1854, was much more spontaneous and considerable than that of the
_Prophète_ at the _Opéra_. Yet, after the lapse of forty years, the latter
is still played on all the stages of the world, whereas _l'Etoile du Nord_
is well-nigh forgotten. Assuredly there are some beautiful pages in this
score, in which Meyerbeer embodied several pieces from his German opera,
_A Camp in Silesia_, and especially should be mentioned the songs and
the ballad of Catherine in the first act, the quintet in the second, the
superb song of Pierre in the third, as well as the comic duet and trio;
but the work is essentially lacking in unity, it is too heavy as a whole,
and the orchestration is too noisy and brilliant for the demi-character of
the opera. Meyerbeer was much better inspired in _le Pardon de Plöermel_
(Dinorah), given also at the _Opéra-Comique_, April 4, 1839. This work
contains some exquisite pages, among which I will mention particularly the
overture with invisible chorus, Hoël's air in the first act, the drinking
chorus and the trio in the second, and the touching and melancholy song of
Hoël in the third. Unfortunately the insignificance and emptiness of the
libretto have always been a drawback to this beautiful score.
What are the salient traits of Meyerbeer's genius, and what influence has
this genius exerted upon his contemporaries? Such is the double question
which presents itself to us in the presence of the works of this great
man. First of all should be remarked his power of inspiration and power
of conception. He was the first to give to France the example of these
five-act operas of colossal dimensions, the performance of which requires
fully five hours, and the richness, the power of his inspiration is such
that so far from weakening during the course of these five long acts, it
is often higher, more sublime at the end than at the beginning. Witness
the fifth acts of all his great works; _Robert_, _les Huguenots_, _le
Prophète_, _l'Africaine_; every one of them is a masterpiece! As to the
power of conception, that mysterious faculty of unifying the different
parts of a work so large and complex as each of his operas, and forming of
them a harmonic, homogeneous whole, it is trully marvellous, and indicates
a peculiarly organized and quite exceptional musical brain. Everything,
indeed, is to be found in his works; dramatic sentiment is carried to its
highest power, the musical style is full of splendor, the general form is
superb, the harmony is solid and substantial, and the union of the voices
with the instruments admits of no criticism. If there were any fault
to be found with him it would be in the excess of sonority, sometimes
overwhelming, which he gives to the orchestra. But on the other hand, how
much he has improved the orchestra, giving it increased interest and life,
as well as variety of color, of timbre and of effect! What an important
part it takes in certain situations, and how carefully, conscientiously
and cleverly it is managed!
Conscience, indeed, was one of Meyerbeer's master qualities. Others, so
richly gifted, might perhaps have been content to follow the course of
their inspiration, without taking the trouble to enrich it, to fortify
it with the aid of all the means which art puts at the disposal of the
composer. He neglected nothing, no detail, no effect, no method that
enabled him to augment his resources, to complete his thought, in a
word, to attain perfection, or what he believed to be perfection. Nothing
dismayed him, he spared no pains to realize his ideal, to obtain the
result at which he aimed, and he never felt that he had done a thing so
well that it could not be improved. Thus his works have the solidity of
marble and the strength of iron. And if a blemish be sometimes discovered
in them, it is like the spots on the sun, which do not interfere with its
dazzling light.
In regard to the influence exerted by Meyerbeer upon his contemporaries,
although genuine and unmistakable, it cannot be said to be so complete or
so general as that exerted by Rossini. And this is due to the nature of
his genius, which was very complex, and in which cerebral reflection and
the combination of means held as important a place as inspiration properly
speaking. It was easy to imitate, without obtaining the same results,
the methods and the forms employed by Rossini (I refer to the _Italian_
Rossini, and not the Rossini of _William Tell_); very much less easy was
it to imitate the forms and the methods of Meyerbeer, these being not only
more complicated, more varied, but essentially dependent on the subject,
on the situations, on the episodes. This is why Meyerbeer's influence has
been mainly felt in the conception and general form of a work, and has
been much less sensible in technical detail and musical method.
In closing, I would say that Meyerbeer is one of the noblest, most
glorious artists who have ever shed lustre not only upon the French stage,
but on musical art as applied to the theatre. A great musician, but
especially a great dramatic musician, he has power, nobility, bold and
heroic inspiration, and above all the gift of emotion, of that poignant
and vigorous emotion which stirs the spectator, wrings his heart, lays
hold upon his very vitals, and forces the tears from his eyes.
[Illustration: Arthur Pougin]
[Illustration: FRESCO IN THE VIENNA OPERA HOUSE,