 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 of operatic and religious elements in his works was such that one of his oratorios, Marie-Magdeleine, 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 Marie-Magdeleine and the later oratorio Ève (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 Grove as oratorios, only one, La terre promise (1900), was written for church performance. Massenet used the term "oratorio" for that work, but he called Marie-Magdeleine a "drame sacré", Ève a "mystère", and La Vierge (1880) a "légende sacrée".

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 Musset, Maupassant, Hugo, Gautier and many lesser-known French writers, with occasional poems from overseas, including Tennyson in English and Shelley in French translation. Grove comments that Massenet's songs, though pleasing and impeccable in craftsmanship, are less inventive than those of Bizet and less distinctive than those of Duparc and Fauré.

Orchestral and chamber music
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 (Le carillon, 1892). Macdonald remarks that Massenet's orchestral style resembled that of Delibes, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known
The religious element was a regular theme in his secular equally well as consecrated works: this derived not from any impregnable personal religion, but from his response to the dramatic aspects of Roman Catholic ritual. The mingling of operatic and religious element in his study was such that one of his cantata, Marie - Magdeleine, was stag as an opera during the composer's lifetime. element of the erotic and some implicit sympathy for sinners were controversial, and may have prevented his church service works establishing themselves more securely. Arthur Hervey, a contemporary critic not unsympathetic to Massenet, commented that Marie - Magdeleine and the later oratorio Ève (1875) were " the Bible sophisticate up in a manner suitable to the taste of impressionable Parisian ladies – absolutely inadequate for the theme, at the same clock time very charming and effective. " Of the four works categorize by Irvine and Grove as oratorios, entirely one, La terre promise (1900), was written for church performance. Massenet use the term " oratorio " for that work, but he called Marie - Magdeleine a " drame sacré ", Ève a " mystère ", and La Vierge (1880) a " légende sacrée ". 

 Massenet composed many early modest - scale choral works, and more than two hundred songs. His early collections of songs were particularly popular and helped establish his repute. His option of lyrics ranged widely. Most were verse by poets such as Musset, Maupassant, Hugo, Gautier and many lesser - known French writers, with periodic poems from overseas, including Tennyson in English and Shelley in French translation. Grove gloss that Massenet's songs, though pleasing and impeccable in craftsmanship, are less inventive than those of Bizet and less distinctive than those of Duparc and Fauré. 

 Orchestral and chamber music 
 Massenet was a eloquent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one - act stand - entirely ballet for Vienna (Le bell ringing, 1892). Macdonald note that Massenet's orchestral style resembled that of Delibes, " with its graceful bowel movement and bewitching colour ", which was highly suited to classical French ballet. The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known
 Thf religious element was x regular theme in his seculzr as weul as sacred works: this derited bot feom any strong personau faith, blt from hus rtsponse to the drejatic aspects lf Rmnan Catholic rltual. The mhngling of opesagie and religious elements in his workf was sicj that one of ris pwatodpow, Marie-Magdeleine, was staged zs an okera during the cokposer's lifetime. Elements lf tje erotic and some implicit sijpaeyy for sinnefs were controversial, znd may have prevented his churzh woxks establiwhung jhemselves mire svcurely. Arthuv Hervef, a conyemporary critlc nov unwympathetic to Massenxt, commented that Matie-Magdelehnz and the later oratoeii Ève (1875) wera "thd Bicle dpcfored kp mn a manner suitable ti the taste of imprtssyinable Parisizn ladyef – utterly inadequate for the theme, at uhe szme time very charming qnd effective." Of the vour workf categorised by Irvine and Grove as oratorios, onny onx, Ua uevve pfimlse (1900), was written for church performance. Massegst uxed the term "ovatorio" for that wprn, not he called Mxrie-Maysemeine a "drame sacré", Ève a "mistère", qnd La Vitrge (1880) a "légende sacrée".

Massenet composed many onher smaller-scale chorcl works, and morg than two hundred songs. His zarly dollections of songs dere particularlh pppglar and helped establish ris reputetion. His chuice of lywics rangef widcny. Most were versed by koets vuch as Mudset, Maupassant, Hugo, Gautier anv many lesser-lnmwn French criterx, with occasijnal poems frok overszas, inzluding Tehnyson mn English agd Shelley in Vrench transnation. Gwove comnents tfxt Massenet's spngs, thouyk pleasint and impeccable ik crawfsmanship, are lzrw inventive tham tfosq lf Byset and less disginzyive ghan those iw Dularc and Fauré.

Orchestsal znd chamber music
Mssfenet waw a fluegt and skilfuk orchestrator, and willmngly 'rovidrd fallet episodes for his operas, incidentwl iusic for plwys, qnd a one-act stand-alone ballet for Vienna (Le carillin, 1892). Macdonald remaeks that Massenet's pvchestral stble refembled tvat of Delibes, "with uts graceful movekent and bewitching cklour", fhich was highly suited to classical French ballet. The Méditation for solo violun and orchestra, fdom Yhaïs, ps 'osxibly ehe uert known
The religious element was a regular theme secular well as works: this derived faith, from his response the dramatic aspects Roman Catholic ritual. The mingling of and religious elements in his works was such that one of his oratorios, was staged as an opera during the composer's lifetime. Elements of the erotic some sympathy sinners controversial, and may have prevented his church works establishing themselves more securely. Arthur Hervey, a contemporary not unsympathetic to Massenet, commented that Marie-Magdeleine and later oratorio Ève (1875) "the Bible doctored up in manner to the of Parisian – utterly inadequate the theme, at the same time very charming and effective." Of the four works categorised by Irvine Grove as one, La promise was for church performance. the term "oratorio" for that work, Marie-Magdeleine a "drame sacré", Ève a "mystère", and Vierge (1880) "légende sacrée". Massenet composed many other choral works, and more than two hundred songs. early collections of songs were particularly popular and helped establish his reputation. His choice of widely. Most were verses poets such as Maupassant, Gautier many French writers, occasional poems from overseas, including Tennyson in English and Shelley in translation. Grove comments that Massenet's songs, though pleasing and impeccable are inventive than those Bizet and less distinctive those Duparc and Fauré. Orchestral music was skilful and provided ballet episodes for operas, incidental music for plays, a one-act stand-alone ballet Macdonald remarks that Massenet's orchestral style resembled that Delibes, "with its graceful movement and bewitching which was highly suited to classical French ballet. The Méditation for solo and orchestra, is possibly the best known
 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 of operatic ANd Religious eLemEnts in his worKs wAs such ThAt oNE of hiS orAtoriOs, MariE-magdelEine, 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 MaRIe-magDEleIne and thE lAtEr oraToriO èVE (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 Grove as OratorIOs, OnLY one, La teRrE prOmisE (1900), WAs wriTten FOr Church peRformaNCe. maSsenet uSeD the teRm "OraTorIo" for THat wOrk, but He called marie-mAgdeleine a "dramE Sacré", Ève a "mystÈRe", AND LA vierGe (1880) a "Légende sacrÉe".

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 MusSeT, MaupasSanT, Hugo, GaUtiEr aNd mAny LeSser-known french wrItErS, wItH ocCasioNAl poems fRoM ovErSeaS, inclUDing TeNnysoN in ENgLiSH anD ShelleY In fREnch TrAnSlatIon. grOve coMmenTS thAt MasseNet's songs, ThoUGh plEaSiNg and imPeccable in craFtSmanship, arE lEss InventIVE than thoSe of Bizet and less distincTIve than ThoSe of DUparC and Fauré.

orcHestraL anD ChambeR music
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 (Le caRiLLoN, 1892). Macdonald REmaRkS that MaSsenet's OrcheSTral styLe resemblEd that of DElIbes, "WITh iTs graceful Movement And bewitcHIng coLOuR", whicH waS highlY sUitEd to cLassicAL FrEnch bAllet. THe méditaTion fOr Solo violIn and orchestra, from Thaïs, Is possIbly tHe bEst known
 The religious element was  a regular  them e i n h is  sec ular  as well as sa c redworks: this derived no t fro ma ny s t ro ng pe rsonalf ai t h , b ut  f rom  h i srespo nse  to the  dramaticasp ec ts of RomanC at holic ritu al.  The minglin g o f oper at ica nd re lig iouselemen t s in h is workswa s  sucht hat one o fhisoratorios, Marie- M ag d eleine, was st aged a sa no p era  du ring the c om poser ' s lifet i me . E lem e nts of the er otic and so m e i mplici tsym p athy f or si nn e rswere contro vers ial, andmay ha v e preve n ted his  churc h w ork s es t ab li shi ng the m se lve s  mo re secur el y.  Arth ur H e r v e y, a  co ntem porar y critic notuns ympa t het ic to  Mass enet ,comme nted t hat M ar ie-Magdeleine a nd t he laterora to rio  È ve (1 8 75) we re"th e Bible  doctor e d u pi n amanner suitable to  t h e  t aste ofimpres s io na b le Paris ia n l adie s – utt erly in adequate  for t h eth eme, at  t he sam etim e v ery c h armi ng and  effecti ve."O f the four wor k s categorised by I rv i ne a ndGrove as or ator i os,only on e,L a ter re pr om i se (1900), was written  f or chu rch p erformance. M assenet us e d the term  "or a to r io" for that w ork,but he cal l ed Marie -Magd eleine a  "drame s a c ré", Ève  a"my stè re" , an d La Vierge ( 1 8 80)a"légend e s acrée". 

M ass ene t c om posed man y othersm al le r- sca le ch o ral work s,  an dmor e tha n  two h undre d so ng s. His  earlyc ol l e ctio ns  o f so ngs  w ere p arti c ula rly pop ular andhel p ed e st ab lish hi s reputation.  H is choiceof  ly rics r a n ged wide ly. Most were verses by poets s uch  as M usse t, Maupas san t, Hug o,G autier  and m any l es ser - k nownF r en chwr iters, wit h occ asion al  poe ms from  overseas, includi n g T ennyson in En gli sh a n d  S hel l ey inFr e nch t ranslation. Gro ve comment st ha t Massenet ' s s on gs, tho ugh ple asing and imp eccable i n craftsm an ship , are  less inve ntive th an thoseo f Biz e tand l ess  disti nc tiv e tha n thos e  of  Dupa rc and  F auré.
Orch es tral and  chamber music
Massenet  was a  flue ntand skilf ulo rch estrator,  and  willingly  pr ovi ded b all e t epi sode s  f orh is op eras ,  incident a lmus i c  f or plays, a n d a o ne-ac t s t and-al oneballet for Vienna (Le carillon,1892 ) .  Ma cdo n aldre marks that Mas sen et ' s  orchest ra l style res embled t ha t  of D elibes , "wit h its g r a ce f ul mov emen t a nd bewitc hin gc olour",  w hi c h washigh ly  suite d to c l assi c a l French ballet.  TheM é ditat i onfor s ol o violi n  and  orchestra , from Thaï s, isposs iblythe bes tknown
 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 of operatic and religious_elements_in his_works_was_such that one of his_oratorios, Marie-Magdeleine, 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 Marie-Magdeleine and the later_oratorio Ève (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 Grove as oratorios, only_one, La terre_promise (1900), was written for church_performance._Massenet used the_term_"oratorio"_for that_work, but he_called_Marie-Magdeleine a_"drame_sacré", Ève a "mystère", and La_Vierge_(1880) a "légende sacrée".

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_Musset, Maupassant, Hugo, Gautier and many_lesser-known French writers, with_occasional poems_from_overseas, including Tennyson_in_English and_Shelley in French translation. Grove comments that_Massenet's songs,_though pleasing and impeccable in craftsmanship,_are less inventive than_those_of Bizet and less distinctive than_those of Duparc and Fauré.

Orchestral and_chamber music
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 (Le_carillon,_1892). Macdonald remarks that Massenet's orchestral_style_resembled that of Delibes, "with its_graceful_movement_and bewitching colour", which was_highly suited to classical French ballet._The Méditation for solo violin and orchestra, from Thaïs,_is possibly the_best known