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Updated: June 7, 2025
The combination is extremely piquant, and it says much for Massenet's individuality that he has contrived to blend such differing elements into a fabric of undeniable beauty. Alfred Bruneau is a composer whose works have excited perhaps more discussion than those of any living French composer.
The civil canon laws of mediaeval Europe seem to have carried the exclusion much further. "Bruneau, although a contemporary of Madame de Sevigne, did not scruple to write, in 1686, that the deposition of three women was only equal to that of two men.
But although M. de la Pomelière, from his previous knowledge, had a hazy idea of the truth, the uninformed public continued devoted to the cause of the pretender; and the convict secretaries, if they failed to stir up the educated classes, at least succeeded in entrapping the ignorant. The prison cell of Bruneau was converted into a scene of uninterrupted revelling.
The claims of three pretended Dauphins Hervagault, the son of the tailor of St. Lo; Bruneau, son of the shoemaker of Vergin; and Naundorf or Norndorff, the watchmaker somewhat troubled her peace, but never for a moment obtained her sanction.
When Bruneau was confronted with his former patroness, he at once admitted that he had enjoyed the lady's hospitality, but declared that that fact did not render him the less the Dauphin of France. The viscountess reproached him, and endeavoured to ashame him; but the impudent and ungrateful scamp turned to her with an air of mock majesty and exclaimed, "Madame, I accept counsel from no one.
But although it has always numbered in its ranks many illustrious and devoted professors among whom it recognised, a little late, the founder of the young French school, César Franck and though the majority of artists who have made a name in French music have received its teaching, and the list of laureates of Rome who have come from its composition classes includes all the heads of the artistic movement to-day in all its diversity, and ranges from M. Massenet to M. Bruneau, and from M. Charpentier to M. Debussy in spite of all this, it is no secret that, since 1870, the official action with regard to the movement amounts to almost nothing; though we must at least do it justice, and say that it has not hindered it.
In this theatre, which produced Carmen in 1875, Manon in 1884, and the Roi d'Ys in 1888, were played the principal dramas of M. Bruneau, as well as M. Charpentier's Louise, M. Debussy's Pelléas et Mélisande, and M. Dukas's Ariane et Barbebleue. It may seem astonishing that such works should have found a place at the Opéra-Comique and not at the Opera.
One there was astonished that the culprit remained undiscovered. 'But why should you marvel? said Bruneau. 'I could kill you and your wife at your own chimney-corner without a soul knowing.
The form of Bruneau kept swinging back and forth before his disordered mental vision, and as he gazed upon it he resolved that De Pontbriand's should take its place. At first, as the diabolical thought took shape, he recoiled from it. Hang a gentleman of France!
She always carries in her arms or keeps beside her a bundle of linen which she nurses and cares for as though it were a sick child; and, excepting Bruneau and myself, whom she recognizes, she thinks all other men are doctors, whom she consults about the child, and to whom she listens as oracles.
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