▁signature ▁to ▁stand ▁alongside ▁his ▁own ▁in ▁the ▁manuscript ▁of ▁the ▁score . ▁Rod ney ▁Mil nes ▁suggests ▁that ▁Mass en et ' s ▁" pass ion ▁for ▁his ▁leading ▁lady ▁resulted ▁in ▁some ▁of ▁his ▁most ▁chrom atically ▁tort uous ▁er otic ▁writing " ▁while ▁obser ving ▁that ▁the ▁oper atic ▁events ▁are ▁" dispatch ed ▁in ▁just ▁over ▁two ▁hours ▁of ▁music ". ▁Cr icht on ▁notes ▁also ▁the ▁skill ▁of ▁Mass en et ▁in ▁writing ▁for ▁male ▁voices ▁- ▁both ▁the ▁ten ors ▁Roland ▁and ▁É né as , ▁but ▁also ▁for ▁the ▁Bishop , ▁the ▁Emperor ▁Ph or cas ▁and ▁the ▁King . ▁He ▁also ▁points ▁to ▁the ▁scoring ▁of ▁low ▁instruments , ▁where ▁the ▁bass ▁clar inet ▁and ▁t uba ▁show ▁" an ▁individual ▁application ▁of ▁less ons ▁well ▁learned ▁from ▁the ▁later ▁parts ▁of ▁The ▁Ring , ▁used ▁with ▁a ▁dis cret ion ▁unlikely ▁to ▁ups et ▁the ▁general ▁public ▁of ▁the ▁day ". ▁ ▁Seven ▁black ▁and ▁white ▁pro jections ▁for ▁the ▁scenes ▁of ▁sor c ery , ▁using ▁the ▁magic ▁lan tern ▁technology , ▁were ▁created ▁by ▁Eug ène ▁Gr asset , ▁who ▁also ▁illustrated ▁the ▁original ▁vocal ▁score . ▁ ▁After ▁a ▁very ▁successful ▁initial ▁run , ▁however , ▁the ▁opera ▁disappeared ▁from ▁the ▁re per toire ▁and ▁fell ▁into ▁almost ▁complete ▁ob liv ion . ▁So on ▁afterwards ▁Sy bil ▁Sand erson ▁fell ▁ill . ▁When ▁she ▁died ▁around ▁the ▁start ▁of ▁the ▁ 2 0 th ▁century , ▁it ▁seems ▁that ▁Mass