Massenet: Thaïs / Sills, Milnes, Gedda; Maazel

Thais has never really captured the public by storm, as really none of Massenet's operas have. Yes, we hear Manon occasionally, but it is not that commonly performed. Interestingly, Manon, Thais, and Esclarmonde were all written for the same soprano -- Sible Sanderson. For those who think that this role is very dramatic and requires the weight of a Rene Flemming (who is wonderful in the role, in my view), you are historically wrong. Sanderson was a very bright high-pitched coloratura. In fact, she auditioned for Massenet while quite young, and sang all the arias for the Queen of the Night. The easy part of her range was that part where most sopranos die. Casting Beverly Sills in this role (one which she excelled in on stage), is not a mistake. Her voice is probably closer to Sible Sanderson's than Sutherland would have been. The lower alternatives in all the above mentioned scored were written after her death (Sanderson died tragically quite young of a horrible disease that turned her entire body to leather, almost petrifying it -- Mary Garden was a close friend of hers, and talks about the entire affair in her own life story). There are many high E's written in Thais, and they all have a dramatic purpose, or represent her laughing at the morality she later would adopt. Sanderson was the toast of Paris, especially during the world's fair when Esclarmonde was premiered. Her voice was described as balls of light. Whether Sills sings quite that way is a matter of taste. It is true, she is not at the beginning of her career when recording this work, but closer to the end of it. That, however, doesn't detract from the insight she brings to the role. One thing she brings, which is so often lacking in French opera, is the command of the language. Sills is fluent in French (and Italian), so it is completely natural for her to sing it in a way that gives depth to the language as well as the notes. She would actually, in her younger days, have been a great choice for Esclarmonde, which if song as Massenet wrote it for Sanderson, would contain a whole plither of high G's above the Queen of the Night's high F. Sutherland sings none of those notes, but and only a couple of times the high D lower alternative (still her performance is riviting).

This recording is not perfect. The singers, though wonderful, are a little past the youthfulness that the score implies (except maybe Milnes, one never sees his character as young), but each brings depth and polish to their very difficult music. One thing about Massenet, he seems so easy to sing, the melodies are not overrun with coloratura, or anything like that, so we often think it takes very little to just sing beautifully. He is horribly difficult to sing, for he requires a perfect legato, but in the French manner, not the Italian. It is smooth, but not portamento based. Diction is a must in French opera, even more important than it often is in Italian opera. Poise and retraint are the hallmarks of French opera, never hotheaded emotionalism. One thing that must be said is all the singers in this recording understand the French style.

The conductor understands the style as well, but he is a bit drab at times, a bit leaden in his tempi. He does conduct the orchestra with a clean, clear, balanced sound, which is wonderful. He just is slightly "self-conscious" when it comes to the tempi to achieve that clarity.

This recording is excellent, and I would still recommend it first, before any other. The Flemming recording is wonderful, but the French style is not understood well by all the cast, and not by the conductor. The French diction is wanting most of the time. The voices in the Flemming recording are fresher, more as we would think these characters would be. Still, even with that, this recording with Sills, Gedda, and Milnes is still the best of this opera, and well worth the money.

However, for those who wish to hear the opera as Massenet wrote it, this is the only recording available that does that. Thais was written for the American Soprano Sible Sanderson. She was noted for her ease in singing notes well above the Queen of the Night's top F. This score reflects her easy top. Sill's top is easier than most, and Mary Garden's habit of removing notes uncomfortable to her ( which was basically anything above an A, and then when ventured above she only touches her higher notes )should not be used as an excuse to simply condone cut performances.

As for the idea of Rene Flemming doing this role, she could bring much to it, but an easy top is not one of the aspects she could bring.

Even with the flaws, this is by far the best available recording, and the most complete, which actually means a whole lot when listening to Massenet. He intends his works to be complete, and when complete they are incredible revelations of talent.