Page:A Dictionary of Music and Musicians vol 4.djvu/730

714 the composer tried the experiment of connecting the numbers of an opéra comique by a slightly orchestrated accompaniment to the dialogue, which was not sung, as in the case of recitativo secco, but spoken as usual. The idea was very ingenious, and deserves to be matured. In 'Le Cid' the heroic element has been ignored entirely, and the result is a work of somewhat effeminate character, wholly destitute of any connection with Corneille's tragedy. To the number of his works are to be added three new Orchestral Suites, nos. 5–7, Scènes Napolitaines, Scènes Alsaciennes, and Scenes de Féerie (Concerts du Châtelet, 1880, 1882, 1883); incidental music to Sardou's 'Theodora' and 'Le Crocodile' (Porte St. Martin, 1884 and 1886); a short work for voice and orchestra, 'Biblis'; various 'Poèmes' for voice and piano, and an opera, 'Pertinax,' intended for the Opéra Comique. In Oct. 1878, Massenet replaced Bazin as professor of advanced composition at the Conservatoire. In 1876 he was decorated with the Légion d'Honneur, and in 1878 was elected a member of the Académie des Beaux-Arts in place of Bazin, and to the exclusion of Saint-Saëns, who was generally expected to be the new member, as he was introduced in the first rank by the musical section. This was one of the rare occasions on which the entire Academié has not observed the order of presentation established by the section to which the new member is to belong. Massenet was only 36 at the time, and was the youngest member ever elected to the Académie des Beaux-Arts, for Halévy, who was the most remarkable previous example of what may be called 'Academic precocity,' was 37 when he entered the Institut in 1836. Massenet, who has recently (Jan. '88) been made an officer of the Légion d'Honneur, has been throughout a spoiled child of fortune; but the only music that can endure is that in which are displayed strong convictions and a firm resolution not to yield to public caprice; while Massenet's works, especially his later compositions, which are written without any fixed ideal, and in view of immediate success, scarcely survive the day of their birth, nor do they deserve to survive it. [ A. J. ]

MASSOL,, born 1802 at Lodève, Hérault, was taught singing at the Paris Conservatoire from 1823–25, and gained a first prize there. He made his début at the Opera as Licinius ('Vestale'), Nov. 17, 1825, and remained there until Oct. 8, 1845. He first played second tenor parts in several new operas—Rodolphe ('Tell'); Herald ('Robert'); Kalaf (in Cherubini's Ali Baba '); Tavannes ('Huguenots'); Quasimodo (in Louise Bertin's 'Esmeralda'); Forte Braccio (in Haléy's 'Guido et Ginevra'); Mocenigo ('Reine de Chypre'); and the baritone parts of Tell and Jolicoeur ('Philtre'), etc. He played for a time in Brussels, London, etc., and returned as principal baritone to the Opera in 1850, where he remained until his farewell benefit Jan. 14, 1858. The Emperor was present on that occasion, immediately after the attempt made on his life by Orsini on his arrival at the theatre. His best new parts were Reuben (Auber's 'Enfant Prodigue'), Dec. 6, 1850, and Ahasuerus (Halévy's 'Juif Errant'), April 23, 1852. He was a good singer, admirably suited for heroic drama, having the proper figure and height, and a splendid voice. 'In secondary characters no one was Massol's superior, aad when he played the principal parts he did so with the happiest results. Thus he made the success of the Juif Errant.… His Quasimodo did him the greatest honour.…' (Jules Janin in the 'Débats.') He became for a time Director of the Royal Theatres at Brussels; he subsequently went into business, and, retiring, resided at Versailles, and finally in Paris, where he died Oct. 30, 1887.

While a member of the Brussels Company he made his début at Drury Lane in 1846, as De Nevers July 17, as Jolicœur Aug. 10, etc. He sang at concerts in 1848, and appeared once at Covent Garden as Alphonso XI. July 4. Roger, in his 'Carnet d'un ténor,' has recorded that Massol did not understand Italian, and uttered the most horrible jargon. He sang his first air too low, but otherwise obtained a success, which was partly due to the way in which he had paid court to the journalists and other influential persons, and to his knowledge of artistic cookery. He played there in 1849–50 Pietro ('Masaniello'), De Nevers, Kilian ('Freischütz'), etc.; at Her Majesty's in 1851, Reuben, on the production of 'L'Enfant Prodigue,' June 12; the Baron de Beaumanoir (Balfe's 'Quatre Fils d'Aymon'), Aug. 11, etc. According to the 'Athenæum,' June 14, his Reuben had a patriarchal dignity and pathos, and he sang better in that opera than in any other. [ A. C. ]

MASSON,, born 1806, was taught singing by Mrs. Henry Smart, sen., and in Italy by Mme. Pasta. She made her first appearance in public at Ella's second subscription concert, in the Argyll Rooms, March 11, 1831, and sang afterwards at the Antient Concerts, March 16, 1831, and at the Philharmonic, March 11, 1833; she sang frequently at those Societies' concerts during a public career of about twelve years, and revived there forgotten airs of Handel, Purcell, Pergolesi, Gluck, Mozart, etc. She was in great request at private concerts, since she possessed, apart from her musical attainments, great talents and accomplishments, and was an excellent linguist. She sang occasionally in oratorio, viz. at the festival in Westminster Abbey, 1834, and at the Sacred Harmonic, where she took the parts of Solomon, Nov. 22, 1839, and Storge on the revival of Jephtha, April 7, 1841. She afterwards devoted herself to teaching and composition. She wrote many songs to the words of Scott, Byron, Adelaide Procter, etc., and edited a series of 'Original Jacobite songs' (Lonsdale, 1839), and 'Songs for the Classical Vocalist' (Leader & Cock, 1st series of twelve songs, 1845; a 2nd series 1860), which enjoyed a well-deserved popularity. She founded the Royal Society of Female Musicians in 1839, and was its k n - treasurer until her death, Jan. 9, 1865. On its amalgamation