The ‘réalisme’ of Massenet's La Navarraise divided critics at its belated Parisian première on 3 October 1895. While the opera has typically been read as a straightforward attempt at French verismo, this article suggests a more complex set of ways in which modernity and the modern world shaped critical perceptions of and responses to realism. Placing La Navarraise within its wider cultural and technological contexts, I argue that the critics’ ambivalence to its realism provides insight into the changing and contested nature of critical perception and subjectivity in Paris in the final years of the nineteenth century.

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超越 Verismo：马斯奈的 La Navarraise 和世纪末巴黎的“现实主义”

马斯奈的“现实主义”拉纳瓦赖斯1895 年 10 月 3 日，在迟来的巴黎首演上，评论家意见不一。虽然这部歌剧通常被解读为对法语的直截了当的尝试真实感，这篇文章提出了一套更复杂的方式，现代性和现代世界塑造了对现实主义的批判性看法和回应。配售拉纳瓦赖斯在其更广泛的文化和技术背景下，我认为批评家对其现实主义的矛盾心理提供了对 19 世纪最后几年巴黎批判性感知和主观性不断变化和有争议的本质的洞察。