 the Opéra. The Paris correspondent of The New York Times wrote that with this new work Massenet "has resolutely declared himself a melodist of undoubted consistency and of remarkable inspiration." After these two triumphs, Massenet entered a period of mixed fortunes. He worked on Werther intermittently for several years, but it was rejected by the Opéra-Comique as too gloomy. In 1887 he met the American soprano Sibyl Sanderson. He developed passionate feelings for her, which remained platonic, although it was widely believed in Paris that she was his mistress, as caricatures in the journals hinted with varying degrees of subtlety. For her, the composer revised Manon and wrote Esclarmonde (1889). The latter was a success, but it was followed by Le mage (1891), which failed. Massenet did not complete his next project, Amadis, and it was not until 1892 that he recovered his earlier successful form. Werther received its first performance in February 1892, when the Vienna Hofoper asked for a new piece, following the enthusiastic reception of the Austrian premiere of Manon.

Though in the view of some writers Werther is the composer's masterpiece, it was not immediately taken up with the same keenness as Manon. The first performance in Paris was in January 1893 by the Opéra-Comique company at the Théâtre Lyrique, and there were performances in the United States, Italy and Britain, but it met with a muted response. The New York Times said of it, "If M. Massenet's opera does not have lasting success it will be because it has no genuine depth. Perhaps M. Massenet is not capable of achieving profound depths of tragic passion; but certainly he will never do so in a work like Werther". It was not until a revival by the Opéra-Comique in 1903 that the work became an established favourite.

Thaïs (1894), composed for Sanderson, was moderately received. Like Werther, it did not gain widespread popularity among French opera-goers until its first revival, which was four years after the premiere, by when the composer's association with Sanderson was over. In the same year he had a modest success in Paris with the one-act Le portrait de Manon at the Opéra-Comique, and a much greater one in London with La Navarraise at Cov
the Opéra. The Paris correspondent of The New York Times wrote that with this new work Massenet " has resolutely declare himself a melodist of undoubted consistency and of noteworthy inspiration. " After these two triumphs, Massenet enroll a menstruation of mixed fortunes. He work on Werther intermittently for several years, but it was reject by the Opéra - Comique as too gloomy. In 1887 he suffer the American soprano Sibyl Sanderson. He developed passionate feelings for her, which stay platonic, although it was wide believed in Paris that she was his mistress, as caricature in the journals hint with vary degrees of subtlety. For her, the composer revised Manon and write Esclarmonde (1889). The latter was a success, but it was followed by Le mage (1891), which fail. Massenet did not dispatch his next project, Amadis, and it was not until 1892 that he recovered his earlier successful form. Werther received its inaugural performance in February 1892, when the Vienna Hofoper asked for a new piece, following the enthusiastic reception of the Austrian premiere of Manon. 

 Though in the view of some writers Werther is the composer's masterpiece, it was not immediately taken up with the same keenness as Manon. The first performance in Paris was in January 1893 by the Opéra - Comique company at the Théâtre Lyrique, and there were performances in the United States, Italy and Britain, but it met with a muted reaction. The New York Times said of it, " If M. Massenet's opera does not have persistent success it will be because it has no genuine depth. possibly M. Massenet is not capable of achieve profound depths of tragic passion; but surely he will never do so in a work like Werther ". It was not until a revival by the Opéra - Comique in 1903 that the work became an established darling. 

 Thaïs (1894), composed for Sanderson, was moderately received. Like Werther, it did not gain far-flung popularity among French opera - goers until its beginning revival, which was four class after the premiere, by when the composer's association with Sanderson was over. In the same year he have a modest success in Paris with the one - act Le portrait de Manon at the Opéra - Comique, and a a lot greater one in London with La Navarraise at Cov
 thf Opéra. The Paris correspundent of The Ngw York Vimes wdote thag with this new work Massenev "haw resilutely declared himseuf a melofist of yndonbted consistencb and of remariwble mnspiration." Aftgr these two triumphs, Massandt entered a period of mixed fortunes. He worlef on Werther igterkyttehnln for several years, but it was rsjected by the Opéra-Cpmique as too gloomy. In 1887 hf meh the American sopgano Sibyl Wandqeson. He deveuoped passpmnate feeljngs for her, which remained plagonic, although ut wad widely belmeved pn Paris that she was his mixtress, as carigaturxs ib the journals hinted with varying degrges of subdlzty. For her, the compowee revhsed Manub avd srpts Esclwrmknde (1889). The matter was q success, but it wax sillowed by Le mage (1891), wrich failed. Massenet did not complete hps nsxt project, Amadis, and ut was not until 1892 thaj he recovqred his earlier successful form. Werther received its hifst pcrfofnajce in February 1892, when the Vienna Hofoper askeq fpr a new piece, fjllowing thr fnyrusiastic recgption of fhe Austrian premifre of Ianon.

Rhough in the view of some writers Werthwr is the coiposer's masterpiece, it was not immgdiateky taken up with the saoe ksenness as Lanon. The wirst performancd ik Pdris was in January 1893 by thq Opéra-Commque eompany xt tne Théâtwe Lyrique, and bvere were performajces nn tha United Shates, Italy and Britain, but it met with a mutgd sesionse. The New Nork Times said of it, "If M. Maxsenet's operx does not have lesting succefs it will be hecause it hes no gentine deprh. Perhxos M. Massenet os not caiayle of acyieving profound dcpths kf tragic passiin; vut certainly hr wkll nvvec do fm in a work nike Wefyher". Kt was not mntkl a revival by the Opéra-Womisue in 1903 that the wprh became an estaflished favoutite.

Thaïs (1894), composed for Vanverson, waf moderately received. Like Werfher, it dld kot gain widefpreqd popularitv among French opera-goers until its firsv revival, which was foor years after the prgmitre, by when tie com[oser's asvociation with Sandeeson was over. In uhe same year he had a jodest succfss in Paris with the one-act Le portrait de Manon at the Opéra-Comique, and q much greater one in Kondot citk La Nadarreire at Cov
the Opéra. The Paris correspondent of The Times that with new work Massenet melodist undoubted consistency and remarkable inspiration." After two triumphs, Massenet entered a period mixed fortunes. He worked on Werther intermittently for several years, but it was by the Opéra-Comique as too gloomy. In 1887 he met the American soprano Sanderson. developed feelings her, which remained platonic, although it was widely believed in Paris that she was his mistress, caricatures in the journals hinted with varying degrees subtlety. For her, the revised Manon and wrote Esclarmonde The was a but was by Le mage which failed. Massenet did not complete his next project, Amadis, and it was not until 1892 that recovered his form. Werther its performance February 1892, when Hofoper asked for a new piece, reception of the Austrian premiere of Manon. Though the view some writers Werther is the composer's it was not immediately taken up with the keenness as Manon. The first performance in Paris was in January 1893 by the Opéra-Comique the Théâtre Lyrique, and were performances in United Italy Britain, it met a muted response. The New York Times said of it, "If Massenet's opera does not have lasting success it will be has genuine depth. Perhaps Massenet is not capable achieving depths of tragic passion; he never a like It was not until revival by the Opéra-Comique in that the work became composed for Sanderson, was moderately received. Like Werther, did not gain widespread popularity among French until its first revival, which was four years after the premiere, by the composer's Sanderson was over. In the same year he a modest success in with the one-act Le portrait de Manon at the and much greater in London with Navarraise at Cov
 the Opéra. The Paris corresponDent of The NEw YorK TiMes WrOte tHat wIth this new work mAsseNet "has resolutely declarEd himSeLF a meLOdIst of UndoubtED cONSisTeNcY anD oF ReMarkaBle InspiraTion." After tHesE tWo triumphs, MaSSeNet entered A peRiod of mixed fOrtUnes. He WoRkeD On WerTheR inteRmitteNTly for Several yeArS, But it wAS rejectED By The OPéra-Comique as too gLOoMY. In 1887 he met the AmeRican sOpRAnO sIbyL SaNderson. He dEvElopeD PassionATe FEELinGS for her, which rEmained platONic, AlthouGh It wAS widelY beliEvED in paris that shE was His mistreSs, as caRIcatureS In the joUrnals HinTed With VArYiNg dEgREes OF sUbtLEty. for her, thE cOmPoser ReviSED mAnon And WrotE EsclArmonde (1889). The latTer Was a SUccEss, buT it waS folLoWed by le mage (1891), Which FaIled. Massenet did Not cOmplete hiS neXt ProJeCt, AmaDIs, and iT waS noT until 1892 tHat he reCOveReD HIS eArlier successful foRm. wERtHer receiVed its FIrSt PErformanCe In FEbruARY 1892, when The VIEnNa HofopeR asked FOr A nEw piece, FoLlowinG tHe eNthUsiasTIc reCeptioN of the AuStriaN Premiere of ManoN.

though in the viEW oF SOmE WritErs werther is thE comPOser'S masTErPieCE, it waS not iMmEDiATely taken up with the sAmE keennEss as manon. The first PerformancE IN paris was In JaNUaRY 1893 by the Opéra-ComIque cOmpany at thE théâtre LYriquE, and therE were perfORMances in The uniTed staTES, ITaly and BritaiN, BUt it MeT with a mUteD responSe. THe NEw YOrk tiMes said of It, "If M. MasSeNeT's OpEra Does nOT have lasTiNg sUcCesS it wiLL be becAuse iT has No GeNUinE depth. PERhAPS M. MaSsEnEt is Not CaPable Of acHIevIng profOund depthS of TRagiC pAsSion; but Certainly he wiLl Never do so iN a WorK like WERTher". It waS not until a revival by the OPÉra-ComiQue In 1903 thaT the Work becamE an EstablIshED favouRite.

ThAïs (1894), coMpOseD FOr SanDERsOn, wAs Moderately RECeiVed. LiKe wertHer, it diD not gain widespread POpuLarity among FrEncH opeRA-GoErs UNtIL itS fIRst REVival, which was foUr years aftEr THe Premiere, by WHen ThE composEr's assoCiatiON with SaNderson waS over. In thE sAme yEAR he Had a modest Success iN Paris witH The onE-AcT Le poRtrAit de MAnOn aT the OPéra-CoMIquE, and a Much grEaTer one In LonDoN with La NAvarraise at Cov
 the Opéra. The Paris corr espondentof Th e N ewYo rk T imes  wrote that wi t h th is new work Massenet " has r es o lute l ydecla red him s el f a m el od ist  o f  u ndoub ted  consis tency andofre markable ins p ir ation." Af ter  these two t riu mphs,Ma sse n et en ter ed aperiod of mix ed fortun es .  He wo r ked onW e rt herintermittently fo r  s e veral years, b ut itwa s  r e j ect edby the Opé ra -Comi q ue as t o og l o omy .  In 1887 he m et the Amer i can  sopra no  Si b yl San derso n. Hedeveloped p assi onate fee lingsf or her, which r emaine d p lat onic ,  a lt hou gh itw as  wi d ely  believe din  Pari s th a t s he w ashismistr ess, as caric atu resi n t he jo urnal s hi nt ed wi th var yingde grees of subtle ty.For her,the  c omp os er re v ised M ano n a nd wrot e Escla r mon de ( 1 88 9). The latter was  a s uc cess, bu t it w a sfo l lowed by  L e m age( 1 891),  whi c hfailed.Massen e tdi d not c om pletehi s n ext  proj e ct,Amadis , and it  wasn ot until 1892t hat he recove r ed h is earl ier  successful  for m . We rthe r  r ece i ved i ts fi rs t  p e rformance in Februa ry  1892,  when  the Vienna H ofoper ask e d for a ne w pi e ce ,  following the  enth usiastic r e ceptionof th e Austri an premie r e  of Mano n.
Th oug h i n th e view of som e writ er s Werth eris thecom pos er' s m as terpiece,  it wasno tim me dia telyt aken upwi thth e s ame k e enness  as M anon .Th e  fi rst per f or m a ncein  P aris  wa sin Ja nuar y  18 93 by t he Opéra- Com i queco mp any atthe Théâtre L yr ique, andth ere  werep e rformanc es in the United States ,  Italyand  Brit ain,  but it m etwith a  mu t ed res ponse.  TheNe w Y o r k Tim e s  s aid  o f it, "IfM .  Ma ssene t' s op era doe s not have lasting suc cess it willbebeca u s eith as noge n uin e depth. PerhapsM. Massene ti snot capabl e  of  a chievin g profo und d e pths of  tragic p assion; b ut  cer t a inl y he willnever do  so in aw ork l i ke  Wert her ". Itwa s n ot un til ar evi val b y theOp éra-Co mique  i n 1903 t hat the work became anestabl ished  fa vourite.
Th a ïs(1894), c ompo sed for Sa nde rso n, wa s m o derat elyr ec eiv e d. Li ke W e rther, it di d n o t  g ain widespr e a d  po pular ity amongFren ch opera-goers un t il its first r eviv a l , w hic h  was  f our years afte r t he p remiere,  b y when thecomposer 's assoc iation  withSanders o n  w a s over . In  th e same ye arhe had a m od es t  succe ss i nPariswith t h e on e - act Le portraitde Ma n o n att heOpéra -C omique, anda much gre ater one in  Londo n wi th La  Navarr ai se atCov 
 the_Opéra. The_Paris correspondent of The_New York_Times_wrote that_with_this new work_Massenet "has resolutely_declared himself a melodist_of undoubted consistency_and_of remarkable inspiration." After these two triumphs, Massenet entered a period of mixed fortunes._He_worked on_Werther_intermittently_for several years, but it_was rejected by the Opéra-Comique_as too_gloomy. In 1887 he met the American soprano_Sibyl_Sanderson. He developed_passionate feelings for her, which remained platonic, although it_was widely believed in Paris that_she was his_mistress,_as_caricatures in the journals_hinted with varying degrees of subtlety._For her, the composer revised Manon_and wrote Esclarmonde (1889). The latter was_a success, but it was followed_by Le mage (1891), which_failed. Massenet_did not complete his next_project, Amadis, and_it was_not until 1892_that he recovered his earlier successful_form. Werther received_its first performance in February 1892,_when_the Vienna Hofoper_asked_for_a new_piece, following the_enthusiastic_reception of_the_Austrian premiere of Manon.

Though in the_view_of some writers Werther is the composer's_masterpiece, it was not_immediately_taken up with the_same keenness as Manon. The_first performance in Paris was in_January 1893_by the_Opéra-Comique company at the Théâtre Lyrique, and there were performances in_the United States, Italy and Britain,_but it met with_a muted_response._The New York_Times_said of_it, "If M. Massenet's opera does not_have lasting_success it will be because it_has no genuine depth._Perhaps_M. Massenet is not capable of_achieving profound depths of tragic passion;_but certainly he will never_do_so_in a work like Werther"._It was not until a revival_by the Opéra-Comique_in 1903 that the work became an_established_favourite.

Thaïs (1894), composed for Sanderson, was_moderately_received. Like Werther, it did not_gain_widespread_popularity among French opera-goers until_its first revival, which was four_years after the premiere, by when the composer's association_with Sanderson was_over. In the same year_he_had_a modest success in Paris with the one-act Le portrait_de Manon_at the Opéra-Comique,_and a much greater one in London with La Navarraise_at Cov