Charpentier's Masterpiece "Louise"

Contrary to popular opinion, Charpentier was not born in Paris, in the heart of the Montmartre section, but in Lorraine, in the town of Dieuze. His musical studies, however, were at the Paris Conservatoire (from 1881-1887), where he came under Massart for violin, Pessard for harmony, Massenet for composition. In the year of his graduation he took the Grand Prix de Rome with the cantata Didon. It is interesting to note that, while the Grand Prix has as yet not produced any really great masterpiece, most of the prize compositions having been forgotten in after years, it has been an immense incentive to young French musicians, even to those who have failed to win, in its pursuit.

Charpentier from his youth has been a zealous champion of the working classes. Indeed, he has organized societies for their betterment; and it is not surprising that his best-known works delineate so faithfully the ideals and aspirations of the everyday man in the Parisian capital. His first notable work, Impressions of Italy, is still heard quite frequently from our great orchestras. In it he showed his sensuous feeling for tone color. It was not, however, until his opera, Louise, was produced in 1900, at paris, that his name came into international prominence. The leading role was created by Mlle. Rioton, who also made her debut at the Opera Comique. Mary Garden, however, soon assumed the role, and it not only added to her fame, but she brought a new meaning to the opera. The tragic figure of the father was enacted by the great actor-singer Fugere.

Charpentier, like Wagner, Boito, Leonocavallo and others, wrote the book for Louise and for its sequel Julien. Students of the drama have a very high regard for the remarkable dramaturgic ability shown by Charpentier. He professes to work entirely without "isms", instinctively as it were. The romance of the child of Montmartre, held by her natural filial affection for her father and yet overwhelmed with the all-powerful magnet of the joys of Paris, is not confined to the city of light. It is enacted every day all over the world, and its appeal is universal.

Louise was slow in reaching America. It was not until 1908 that the enterprising Hammerstein brought it forth in New York at the Manhattan, with Miss Garden in the title role. Dalmores was the Julien and Gilibert was the father. Despite the howls of contemporary critics, that the score reflected the weak, sentimental moments of Gounod, Thomas, Massenet and others; that the orchestration was merely an inspiration to follow was Wagner; the demand for the work has been continuous and increasing. His employment of street cries to give local color is in no sense original; but his use of this material is highly effective. The recent success of Miss Farrar in the role not only has brought a revival of interest, but also have given a new aspect of the work.

The furore created by the opera in Paris resulted in the organization of a movement to take groups of young women to the opera without cost to enable them to witness the tragic results of the wayward life. Indeed, Paris became quite hysterical over the work. It was the subject of a bitter controversy in many a social group, some contending that the work was vicious, others that it had a great ethical lesson, and others that it was merely negative.

The best-known aria in the work is the famous soprano solo Depuis le Jour, which has been made familiar to thousands by the numerous records made by many different companies.

The composer's sequel opera, Julien, produced at the Opera Comique in 1913 and in New York under the supervision of the composer in 1914 at the Metropolitan Opera House, cannot be said to have made anything like the sensation created by Louise.

The Story of "Louise"

The plot of the opera revolves around the world old conflict of love and filial duty.

Act I: Louise the daughter of a working man, is in love with Julien, a young poet. In France the law forbids the marriage of young people without the parents' consent, and this she has been denied. In her room Louise and Julien discuss their trials, and she urges her lover to write again, and, in case of a second refusal of consent, promises to elope with him. Her mother enters, overhears the conversation and twits Louise about her good-for-nothing suitor. The father comes from work, with Julien's second letter, is gentler towards their suit, and only embitters the mothers.

Act II: Early morning in the Montmartre quarter of Paris. Julien meets Louise, learns the unfavorable reply to his second letter, urges her to elope with him, but for her fathers' sake she refuses. The scene changes to a sewing room. Julien and his companions serenade Louise amidst the derision of her companions.

Act III: A little house on the Butte Montmartre. The lovers enjoy idle happiness together. Friends come to crown Louise, the Muse of Montmartre, and decorate the house and gardens with flowers, lanterns and so forth. The mother comes to beg Louise to return to her dying father, promising every liberty.

Act IV: Louise in her room. The father peevishly reproaches the ingratitude of children. The mother calls Louise to the kitchen. As she passes, her father seizes her and implores her to love him as she once did. Embittered because, instead of the promised liberty, she has been more a prisoner than before, Louise brings on a heated discussion, finally exclaiming that she wants only "Julien and Paris the beautiful". Enraged, the father orders her from his door. Terrified, Louise escapes, the father relenting too late.

The Etude Magazine July 1921