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J

Second Edition
 ••
CONTENTS VII

Sexual Harassment 78
Disparate Treatment 80
Adverse Impact 81
Fraudulent Recruitment 82
Negligent Hiring 83
Retaliation 84
Enforcement Agencies 85
The Equal Employment Opportunity Commission (EEOC) 85
The Office of Federal Contract Compliance Programs (OFCCP) 86
Legal Compliance Obstacles 86
EEOC Identified Barriers to Equal Employment Opportunity 86
Human Biases that Create Barriers to Equal Employment Opportunity 87
Summary and Application 89
Real World Response 90
Takeaway Points 90
Discussion Questions 91
Exercises 91
Integrative Project 93
Video Case 94
Endnotes 95

PART TWO
Planning and Staffing 99
4 Analyzing Work and Human Resource Planning 100
Real World Challenge 101
Managing a Pilot Shortage at American Airlines 101
The Strategic Planning Process 103
Forecasting Labor Demand 105
Sources for Forecasting Labor Demand 105
Labor Demand Forecasting Methods 107
Forecasting Labor Supply 109
Forecasting the Internal Labor Market 109
Forecasting the External Labor Market 111
Addressing Gaps Between the Firm's Labor Supply and
Labor Demand Forecasts 111
Job Design 114
Increasing Efficiency Through Job Design 114
Increasing Motivation Through Job Design 114
Job Analysis 117
Job Analysis Outcomes 117
Job Analysis Methods 120
Job Rewards Analysis 125
Organizational Structure 125
 •••
VIII CONTENTS

The Organizational Chart 125

Characteristics of Organizational Structure 126
Workflow Analysis 128
Summary and Application 129
Real World Response 129
Takeaway Points 129
Discussion Questions 130
Exercises 130
Integrative Project 132
Video Case 132
Endnotes 132

5 Sourcing and Recruiting 136

Real World Challenge 13 7
Analyzing Recruiting Sources at Valero Energy 137
Sourcing 138
Recruiting Sources 140
Internal Recruiting Sources 140
External Recruiting Sources 142
Recruiting 150
Important Recruiter Characteristics 151
Applicant Tracking Systems 152
Recruiting Metrics 152
The Recruiting Message 153
What Information to Include 153
Realistic Job Previews 153
Applicant Attraction Strategies 156
Employer Image 156
Employer Brand 157
Ethical Issues 159
Summary and Application 160
Real World Response 160
Takeaway Points 160
Discussion Questions 161
Exercises 161
Integrative Project 163
Video Case 163
Endnotes 163

6 Selection and Hiring 168

Real World Challenge 169
How Zappos Hires the Right People 169
Assessment Goals 170
 •
CONTENTS IX

Accuracy 171
Fit 171
Ethics 173
Legal Compliance 173
Positive Stakeholder Reactions 173
Assessment Methods 174
Screening Assessment Methods 175
Evaluative Assessment Methods 177
Contingent Assessment Methods 184
Choosing Whom to Hire 187
Combining Scores 187
Making a Final Choice 187
Making the Job Offer 188
What to Offer 188
Fairness Perceptions 190
Negotiating Employment Contracts 190
The Employment Contract 192
Succession Management 193
Summary and Application 194
Real World Response 194
Takeaway Points 196
Discussion Questions 197
Exercises 197
Integrative Project 199
Video Case 199
Endnotes 200

PART THREE
Training and Performance Management 205

7 Training and Development 206

Real World Challenge 207
How Training Drives Performance at McDonald's 207
Developing a Competitive Advantage Through Training 208
Five Steps to Effective Training 209
Conduct a Needs Assessment 209
Develop Learning Objectives 211
Design the Training Program 213
Implement the Training 216
Evaluate the Training 217
Informal Learning 220
Gamification of Training 221
Reinforcing Training 221
Training in Ethics, Global Leadership, and Diversity 222
x CONTENTS

Ethics Training 222

Global Leadership Training 223
Diversity Training 224
Socialization 225
Phases of Socialization 226
Socialization Options 226
Effective Socialization 230
The Trainee 231
Summary and Application 232
Real World Response 233
Takeaway Points 233
Discussion Questions 234
Exercises 234
Integrative Project 235
Video Case 236
Endnotes 236

8 Performance Management 240

Real World Challenge 241
Managing Performance at GE 241
Why Is Performance Management Important? 242
Aligns Organizational Goals with Team and Individual Goals 243
Gives Employees Clear Goals and Feedback 244
Generates Useful Data 244
Balanced Scorecard 244
Steps in the Performance Management Process 246
Setting Goals and Standards 247
Performance Information Sources 249
Performance Measurement Methods 251
Performance Rating Methods 252
Performance Ranking Methods 255
Predicting Deviance 256
Improving Performance Through Feedback
and Rewards 257
Performance Review Process 258
Continuous Performance Management 261
Improvement and Development Plans 261
Improvement Plans 262
Progressive Discipline 263
Performance Management Obstacles 265
Not Communicating a Performance Plan 265
A Lack of Accountability 265
Human Biases and Errors 265
 •
CONTENTS XI

Legal and Ethical Issues in Performance Management 267

Summary and Application 268
Real World Response 268
Takeaway Points 269
Discussion Questions 269
Exercises 270
Integrative Project 274
Video Case 274
Endnotes 274

PART FOUR
Managing Total Rewards 279
9 Base Compensation 280
Real World Challenge 281
Strategic Global Compensation at Johnson & Johnson 281
What Is Compensation? 282
Strategic Compensation 284
What Influences Direct Financial Compensation? 285
The Influence of the Organization on Direct Financial Compensation 285
The Influence of the Job on Direct Financial Compensation 286
The Influence of the Employee on Direct Financial Compensation 286
The Influence of External Forces on Direct Financial Compensation 288
Evaluating the Worth of a Job 290
Market Pricing 290
Job Evaluation Methods 291
Position Analysis Questionnaire 294
Job Pricing 294
Single-Rate System 294
Pay Grades 295
Broadbanding 295
Communicating Compensation 296
Compensation Issues 296
Equity 297
Team Compensation 298
Executive Compensation 299
Global Compensation 300
Compensation Laws and Regulations 301
The Fair Labor Standards Act 301
The Equal Pay Act 302
Workers' Compensation 303
Summary and Application 303
 ••
XII CONTENTS

Real World Response 303

Takeaway Points 304
Discussion Questions 304
Exercises 305
Integrative Project 306
Video Case 307
Endnotes 307

10 Incentives 310
Real World Challenge 311
Incentive Compensation at Spring 311
Designing Incentive Plans 312
Identify Goals for the Incentive Plan 313
Budgeting 315
Differentiating Rewards 315
Setting Goals and Identifying Performance Measures 316
Incenting Short- and Long-Term Performance 317
Pay Mix 318
Individual Incentive Plans 319
Pay for Performance 319
Skill-Based Pay 323
Recognition Awards 324
Alternative Rewards 324
Group Incentive Plans 325
Organizational Incentive Plans 326
Incentive Plans for Special Situations 327
Executive Incentives 327
Sales Incentives 327
Incenting Innovation 328
Managing Incentive Systems 328
Accurate Performance Measurement and Feedback 328
Technology 329
Evaluating the Effectiveness of an Incentive Program 330
Return on Investment 330
Summary and Application 331
Real World Response 331
Takeaway Points 331
Discussion Questions 332
Exercises 332
Integrative Project 334
Video Case 334
Endnotes 334
 •••
CONTENTS XIII

11 Benefits 338
Real World Challenge 339
Using Benefits Strategically at SAS 339
What Is the Purpose of Benefits? 341
Types of Benefits 342
Mandatory Benefits 342
Customary Benefits 345
Optional Benefits 348
Creative Benefits 350
Global Benefits 352
Communicating Benefits Information 353
Total Compensation Statement 353
Benefits Communication Tools 354
Managing Benefits 354
Benefits Level 354
Flexible Benefit Plans 355
Best Practices 356
Summary and Application 356
Real World Response 357
Takeaway Points 357
Discussion Questions 358
Exercises 358
Integrative Project 359
Video Case 360
Endnotes 360

PART FIVE
Managing the Work Environment and Increasing
Employee Engagement 363

12 Creating a Healthy Work Environment 364

Real World Challenge 365
Wellvolution at Blue Shield of California 365
Employee Safety 367
Why Is Employee Safety Important? 367
A Culture of Safety 368
Ergonomics 369
The Occupational Safety and Health Administration (OSHA) 370
Employee Wellness 374
Wellness Incentives 375
Stress 377
 •
XIV CONTENTS

Bullying 380
Substance Abuse 382
Security Issues 383
Workplace Violence 383
Disaster Preparedness and Response 385
Summary and Application 386
Real World Response 386
Takeaway Points 3 87
Discussion Questions 388
Exercises 388
Integrative Project 390
Video Case 390
Endnotes 390

13 Creating Positive Employee-Management

Relations 396
Real World Challenge 397
The Labor Management Partnership at Kaiser Permanente 397
Why Do Workers Join Unions? 398
Labor Relations and Collective Bargaining 399
Labor Relations 399
How Do Unions Organize? 402
How Are Unions Decertified? 403
Worker Centers 403
Collective Bargaining 404
Worker Rights 404
Management Rights 406
Negotiating 406
Negotiation Breakdowns 409
Strategic Labor Relations 412
Labor Relations Strategic Plan 412
Labor Relations Strategies 412
How Unions Impact Human Resource Management 413
How do Unions Impact Staffing? 413
How Do Unions Impact Performance Management? 414
How Do Unions Impact Employee Training and Development? 414
How Do Unions Impact Compensation and Benefits? 415
Establishing Positive Labor-Management Relations 416
Global Labor Relations 417
Summary and Application 418
Real World Response 418
Takeaway Points 419
Discussion Questions 420
 CONTENTS xv

Exercises 420
Integrative Project 422
Video Case 422
Endnotes 422

14 Managing Engagement and Turnover 426

Real World Challenge 427
Engaging Employees at Allstate 427
Employee Engagement 429
Organizational Commitment 433
Burnout 434
Turnover 435
Optimal Turnover 435
Involuntary Employee Separations 438
Employment at Will 444
Employee Retention 445
Understanding Why Employees Leave 445
Retention Strategies 446
Managing Succession 449
Best Practices for Succession Management 450
Redeploying Talent 452
Summary and Application 453
Real World Response 453
Takeaway Points 454
Discussion Questions 454
Exercises 455
Integrative Project 456
Video Case 456
Endnotes 457

Glossary 463
Name Index 473
Subject Index 479
Approach
Although some students will go on to become managers requiring a working knowledge of
human resource management (HRM), all students will eventually use this knowledge in some
way. This book has been written to prepare both, through personal development to help them
all understand HRM in order to optimize the benefit that derives from it. And to make the
subject engaging while developing long-lasting impact, we focus on developing both skill and
knowledge so students learn how to take action in addition to learning about HRM.

HRM Is Critical to Success

By helping to successfully acquire, deploy, and motivate the right talent, HRM is critical to
every manager's and organization's success. The central theme of our book is helping you
understand how to use HRM to hire, develop, motivate, and retain the right people and bring
out the best in employees to execute the company's business strategy and secure a competitive
advantage. Our book is intended for those who are or who might become a manager or an
HRM professional. We discuss the roles of HRM professionals, managers, and employees in
the design and implementation of effective HRM systems, and include many current examples
of how HRM is executed in organizations.

Flexibility Is Necessary in H RM
Because there is rarely a single best way to implement HRM, every chapter has an HR Flexi-
blity feature that highlights how HR needs to be flexible to best meet the needs of different
situations. The Global Issues feature in each chapter discusses how HRM practices differ
around the world and how HRM needs to be adapted to best meet the demands of different
global and cultural contexts.

Developing HRM Skills to Become More Effective Managers

Each chapter's Develop Your Skills feature focuses on improving a specific skill related to
that chapter's topic. By developing your competence and confidence in using important HRM
skills, this book will help you become a more effective manager through the better use of
HRM tools and practices. The importance of the context of HRM, including laws, ethics, and
globalization, is woven throughout the book. How organizations are using various technolo-
gies to improve and facilitate the execution of HRM is also described.
Each chapter opens with a Real World Challenge, describing an actual HRM situation
faced by a company or manager to highlight the business importance of the chapter's topic and
to prompt reflective reading. The chapters conclude with the Real World Response, which
describes how the organization or manager handled the situation to show how the chapter
concepts were applied. In addition to the case study contained in each chapter, the Real World
Challenge is designed to improve analytical and problem-solving skills.
We wrote this book to be very experiential and to cultivate skill development. Rather than
••
just learning about HRM, we also want you to become better at HRM. Developing your XVII
 •••
XVIII PREFACE

HRM skills will make you a more effective manager and will make your job easier no matter
what field you are in. A book-long integrated project, case studies, videos, and numerous
exercises develop readers' personal skills and provide some experience in applying various HR
concepts. The Happy Time Toys videos written and filmed exclusively for this book reinforce
the relevance of the textbook material and enhance decision-making, analytical, and HRM skills.

Engaging by Example
We wrote the book to be engaging to read. We include many practical examples, and focus
on teaching HRM as it is done today. We also provide many opportunities to develop your
HRM-related skills, and we hope that you find these activities to be both developmental and
enjoyable. If you have any questions, comments, or suggestions about the book please feel
free to contact us at [email protected].
This book clearly communicates the importance of effective talent management to individual
and firm performance. By focusing on the importance of flexibility in applying different HRM
methods to find, keep, and motivate the right employees for the company and job, and on the
importance of developing HRM skills, this book will prepare readers to effectively use HRM
to be better managers and more effective leaders.

Features for Applying What You've Read

••••••••••••••••••••••••• Real World Challenge
•
•• Each chapter starts with a close-up look at an HRM problem or
•
•
• challenge faced by an actual company or manager. This highlights
•
•
• the business importance of the chapter's topic. As you read the
•
•
• chapter, you will discover concepts that apply to that problem.

Real World Challenge

The Role of Human Resource Management in Google's Success

••••••
• Real World Response
lnter'noel sea1ch and advcrtlS!r'lg g..ant Goog.~ ,s ktlovm for1'!:i un,que llf)f)l'O&ch to business, 1ndud- ••
in9 how 1t hirt:s, dt-,,,elops, and mOttVllt~ ,ts t.elet'iL Seeaust- Google~ P~plc Opcrabons teom
•• Each chapter ends with a close-up look at how the
(Yhlat Goog~ eaJls 11'l humen l'MOu~ m&n~mcnt tecan\) l1ves by the! mantra "find them, gro_...
• company or manager addressed its HRM problem or
them, keep th!!m," 11ln~sts In stafflng, C!Tlf)loycc mvelop~t. Md rn.t1inta1nng a distinct and
il'ldUMYc c:uhure.1
••
Google also recogn~ the importanot1 of malong st..arehOlder,. .iiware of tMf111t man&gel'l'W!l'lt'" •• challenge. Here, you come full circle and learn how
role In the comp:iny's !;UCCMS. Goo~ de:,rly St.at~ the diteet eonnecuon bctwe-en tblen1 man.a~
•
IMtlt and company suc:ce1s ,nits S,e,curiti~ Md Exchange Com1T11ss1on ll'gal £.tinsi, s1atm9 that, •• the featured company or manager applied the chapter
•wl' behcvl' that ou1 appr-oac:h to hiring has s,gr11f1C11ntly contrlbut~ to O!Jr suo:e-u to &tc. " 7 ft
4l5o .ndud~ this 1mpo.ru,nt lltbtem~t In ttll! "risks~ sectton: •ff we do not su«l'~ in l!itltaeting
••
~Jlent pe(Sontll'I or fl't$il'ling Of mCMJvalll'lg CXDtng f)«'S~I. ~ may bl' unable to g<ow •
• concepts .
l'ffl'ctNl'ly. ...i Googll' und«su,nds that it is in constftrint compt<l.!t,on with olhtor lntt!fnt:t compan~
•
to attract and rl't..:lln thl' ~ustry's bht tl'chnolo9y and sohw:,ie t:":n9nl'l'11ng 1&!toi,t, and th11,1 ,fit
- •
Real World
GivM thl' importance ol human ~sou~ maoagcment, 'M\ich it calls ·~oplc Of)er&tlons,." Response
to ,ts su~l'ss and to ,ts stock poce, ~at ideas do you haw to he-tp Google most effl'etivl'ly
The Role of Human Resource Management in Google's Success
11,tuact, hire, develop, motiv:itc, and rl'tAin Its employees? Aftl'r ~adhg this c:haptl'r, you ,should
fts ~ s :ate die b:adbonc of GOC9C's wcceu. Google dcs,g,-f mdf on the idN th~ wot\: Vlould
have somtt good 1M'9hb. be CNl!mgf'lg ;1od fi.i, ;,nd it has :in CI\ICllltclmg philosophy to • ac;1te: the h:ippicst, ~ p,od.iaive
wori:pli,ce in the wolid. ••1 Google recognitc$ thrt its employees' needs v:ary .11crou coumrics, and h
offers benefits, policies, ,1i,d perts Nt rdled thct loail environmeni 11nd rmike thew &ves c.:a51er. BCClluse
its c m ~ .we highly :analytical, Google's te.:a.m .:..!so uses d:aUI to d)3ngc opinior.s ;,nd pcnuade rts
m.,n,1gers ;ind cmployccli to oommii to ci-.:lngcs.41
3 Ooog\e calculated that exceptional t'eehnologisa OU'!pCrfonn .,..-er:igc technologists by •s mud! as 300
times, allowing it to colWinoc: exec1111ves to prow:ie die 1MOU1Ces ncces:,;.uy to inveS1 in hilW'lg. rCU1inJ'19, ;'llld
devc-Jopa,g truly mr.lon:i,n.wy tll!cnt. Google's pc,ople apcr.llions profesStOr1.a\l consis::mdy m;1kc • ma,9
bu.sii,cs.s aise for i,ew initi~ which is an important reason why they rec:CNc such ~ r w u y
executive wpport.u
To ensure it hires 1he bes, t11lcmt, Google is extremely $.Clcctiw. Its reauiting m~e regubrly
ideniifies people who may not amentfy be lcokmg for.,, Job but who i1 brieves would be high.quality
job canddirtcs. The hirir,g proccs.s is lengthy 4nd lhorough, focused on Gnclii,9 sm.wi, .:a.no1!ytic..al, emre-
p,encuri.i,1 peopk who e,:,n help Google.,,~ its vision of cfi.11ngil'l9 the world. Employees :are :.!so
givm quM":o.rfy performance revicw'S <110Ufld core job co,r.pctencies 10 ensl.l!C they blow how lhey'«t
de.lg ;,nd how io er1h11i,cc ~he,r pertom\llncc.
The 90.11 of CioogSe's People Opcu,toons gtoup is to remove every-Jing dwrt m,ght get Cl employees'
w:ay. In :tdditiOl'I to buklir,gli th11; kw.er te-ork ,1i,d crNtivity, Google oll'crs cmpbycc ~ free goorme1
me.lll!i 11i,d sn11cb, cxetcise focilitics, g.,mc rooms, .:a. li!l'Jndry service, .11nd even,., on,.s.ite medicaJ st,ff.
Googe ako allows rts softw:tre cng,ncc:rs to devote "P to 20 peroemt of ~e. time to i,oncorc 1111tl.st:1Ve$
of their OWl'I d!oosii,g towm::I its vision of "d,,11r,gii,g the world." These cxtmsive bffldits m~ $¢Cm
generous, ;1i,d they ccrt:,infy .41C, but every Of!C of them exis.t:. for :he purpose of cm.1ncil'l9 Google's
business rc:w!ts and was fflplcmemed ;1nd ts rcuinccl bl!SC'd on d11ta ,1i,d 11n;1lytia.
Google rnow11tc'S ,ts t4k,nt through iu '1e.1rn fast, bil fiist• appro:,d, to experimci,tation. hs
engii,ce15 C"'1 uy somethii,g new>M1h f-cw mari.agcrial sign-offs, bui thCJridc:as must generate posi!ive
feed:io1d from cole.agues ii they 3te to be giYen signifiani te$0Utces for their initi;1tiYCS. The idcH
that get the~ posi!ive feed:iad: tend to be th~ mOS1 fikdy to cvcnru.i,lly :attrxt millions of users.
Google fflO developed ,1. m;1thcm:atic.:a1 algorithm io proaenvdy idel'llify employees 4t nsk of
qulnii,9, ;1l!ow,n9 maMgcmcnt to penoN1!itc re-:cnbOn solutions and :id before it is too late.~ h ;1lso
aeoicd an incu~tof called Arco 120 th.rt Google tNms e,:,n "f)plyto joii, ~ me fOf several mond!s
by pi!ching ,1 business plan .vid possbly cst11blish .i, new c~ony wrth Google as..:,." invC$~ot.•~
Mo«iv~g employees to •ch:i"ge the WOtld" 11nd f.,d the next big sUCCC$$ is further er,h11ntcd
through multimlicn. dotlilr swck gn,ms u lled ""foui,dcrs ~ - that a.re given to ii,divduals or teams
thot make particul;,r coi,tri:il.lbOnS to Google's sucoeu. So f.u, Google's 11~ch to mcmvo::ing rts
cngii,- hos wodted, wilfl noi,core ptojccu n,gularly leading to SUC:CC$$ful new ptodud l~nches...
Google's investment Cl .1ttr4cting, hirii,g, dcvclop,i,g, 1ew.11tding, .11rd rctl!liNtg talented people h;1s
p:iid off;., ~he comp:iny's succe55 11rcl iis stock m11rket perlormancc.
 •
PREFACE XIX

Strategic Impact
Highlights the business impact of HRM
• •• • • •• • •• • • •• • •• • • •• • •• • • •• • • •• • • • O Strategic Impact
A lig ning Matte l's HRM Strat egy
in an actual company. Toy con1pany Mattel developed a better integrated HRM strategy to support its new
strategic objectives of i1uproving productivity, globalizing and extending the firn1's
brand nanie, and creating new brands. Mattel wanted to better align its HRM func-
tions to motivate e111ployees to work together, i111prove their skills, and i.J11prove
retention. To support these goals, it created employee development programs, estab-
lished n1etrics to better understand how the \Vorkforce was performing, and created
O HR Flexibility a syste111atic succession strategy to increase the retention of the valuable talent it
developed. 17 Mattel's staffmg, performance measurement, and training programs now
Human Resource Ma na gement in Smal l support each other and rernforce the firni's corporate goals.
Organizations
Smaller ftrn1s with fewer than 500 workers make up n1ore than 99 percent of the
business establishments that exist, employing nearly 50 percent of the total work-
force.18 However, s1nall organizations often lack the budget for a dedicated hun1an
resource 111anage1uent function. Unforn1nately, managers in s111all organizations often
lack training in HRM and do not recognize generally accepted HRM practices as nec-
essary for iJ11proviJ1g productivity. 19 This Jack of understanding of HRM issues and
their importance in the operation of a successful business has negatively in1pacted •••••••••••• HR Flexibility
n1any s n1aJJ fir1us. Inadequate and i11efficient n1anagen1ent of human resources often
result iii lov,r productivity and high employee dissatisfaction and turnover.20 At leas t The HR Flexiblity feature highlights how HRM needs to
one sn1dy has found HRM practices to be the leading cause of s mall firn1s' failures ,21
and nun1erous sn1dies have indicated that recruitment and trarning are two of the n1ost be flexible to best meet the needs of different situations.
i1uportant n1anagement problems facing small busmesses.22
Even small organizations can effectively use HRM to improve their performance.
Organizations of all sizes share a need to identify and hire the right people, n1otivate
then1 to perform their best, develop their skills, and retain then1. Investing in HRM i1u-
proves productivity and profitability of s n1aller as well as larger organizations.23 Develop Your Skills
Although HRM practices obviously increase a company's talent-related costs. they should
be seen as an illvestrnent in the company's perforn1ance rather than solely as an expense. Ca reers in HRM
A career in human resource manageu1ent can be rewarding both personally and
financially. Occupational forecasts suggest that the income and opportw1ity prospects
ill 1-IRM are favorable for at least the next decade or two. In fact, the Occupational
Outlook Handbook provided by the U.S. govemn1ent's Bureau of Labor Statistics
Develop Your Skills • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • • • • • • • • • •• states that, "E1nployment is expected to grow much fas ter than the average for all
human resources, trammg, and labor relations managers and specialist occupations.
Develop Your Skills focuses on improving a specific skill College graduates and those who have earned certification should have the best job
opportunities." 60
related to that chapter's topic. Some of the job titles in the area of HRM include director of human resources,
recruitn1ent specialist, compensation analyst, en1ployee benefits manager, work-life
n1anager, training and develop,nent specialist, international human resource n1anager,
diversity and rnclusion specialist, and hun1an resource generalist. Different skills are
needed in the different areas of HRM. For exa111ple, strong quantitative and analyti-
cal skills are helpful in cotnpensation, and good co1nn1unicatiou skills are critical ill
recruiting and training.
You can learn 1nore about career opportunities in HRM by entering HRM-related
ii Global Issues search terms in the Occupational Outlook Handbook at http://www.bls.gov, or by
usi11g O*NET ww\v.online.onetcenter.org.
Managing G lob al Vo lunteers
Managing talent in for-profit organizations can be challenging enough. The chal-
lenges are further increased ill not-for-profit organizations and nongovern111ental
organizations (NGOs), including global humanitarian and relief organizations. In
these types of organizations, so1ne of the en1ployees are volunteers or unpaid staff
who work in non-native countries. There are no reward s ystems and no abili ty to use ••••••••••••• Global Issues
financial illcentives to motivate volunteer perfom1ance. In addition, nonproductive
volunteers may linger in the organization, diverting resources and other workers from The Global Issues feature discusses how HRM practices
acco,nplishing the organization' s niission.40
One of the key challenges in managing global NGOs is managing diversity and differ around the world and how HRM policies and
conflict. Language and cultural barriers exist, as well as differences in work styles
and priorities. Another key challenge in any NGO is assigning volunteers to roles that practices need to be adapted to best meet the demands
they are motivated to do and that they are capable of doing well. Because so much of
volunteers' motivation comes from mtangible rather than from tangible rewards, n1an- of different global and cultural contexts.
agers must n1eet the needs of each individual volunteer. Flexibility in n1otivating and
rewarding the performance of each volunteer, clear goal setting and training in the
ways tasks are to be carried out, and regular performance feedback and appreciation CASE STUDY: HR Transformation at IBM
are important in 1ueeting these needs. Tbe California State Railroad Museun1 gives
Multinational technology and consulting firm IBM transformed rt.self from a strong muttina ·
each paid supervisor 200 thank you cards at the beginnillg of the year that n1ust all be
tional business to a gfobally integrated e nterprise. As Barbara Brickmeier, vice president
used to thank volunteers by the end of the year.41 These techniques are also effective of HR, services delivery, and HR delivery says, NWe want to be able to focus on getting
in managing paid employees but are particularly critical when managmg volunteers. the right talent at the right time, in the right place. Because if we don't, someone else
is right behind us.'' 53 Now operating in more t han 170 countries and with 62 percent of
its business service based, IBM knows how important rt is to capitalize on talent world·
wide. 54 IBM now locates its business functions aro und the world based on the right mix
of costs and skills.
To support its new strategy, IBM's human resources function separated core HR roles,
includ ing designing HRM policies and internal business consulting, from more administrative
tasks such as payroll, relocation, perfonnance management, and data entry. This allowed
IBM's HRM p rofessionals to focus on strategic and employee needs as well as streamline
services and reduce costs while improving flexibility and service quality.
IBM employees are now support ed by country and regional HR line managers. HRM
subject matter experts focus on key functions such as payroll and designing programs relevant
to business goals. Standardized administrative roles are centralized in cost·effective g lobal
employee service centers t hat provide payroll processing, travel and expense processing,
and employee records management.
IBM relies on repeatable technology..enabled, cost-effective processes, such as a

Case Study • •• • • • • •• • • •• • • • •• • • • •• • • • •• • • •• • • • • •• • • •• • • • • •• • • •• • •• proprietary system for processing travel expenses that provides faster, more accurate
employee reimbursements. Brickmeier states, "'If we had to do those administrative tasks,
These cases present how real companies responded to and deal with t&chnology, we wouldn't be able to do the things that help p ush the business
forward, like hiring people. upskilling. leadership development a nd getting the right talent

events and challenges. By reading this brief case study and in ptace. ... This gives us time to devote to talent management, compensation, developing
skills and expertise, and helping the business grow."" ss
IBM also changed its annual performance review to one that allows employee goals to
answering the questions, you will improve your analytical change during the year and that provides more frequent feedback.56 The system now gives
employees feedback at teachable moments throughout the year rather than only once a
and problem-solving skills and gain practical insights about year during the annual perofrmance review, and it allows all employees to give feedback
to each other regardless of rank.57

how businesses function. Questions:

1. How does separating core HRM roles from administrative HRM roles he lp IBM better
execute its business strategy?
2. How has t&chnology he lped IBM implement its new HRM configuration?
3. How would getting feedback more than once a year and from employees other than
your supervisor help you to perform better at work?
xx PREFACE

So What?
These items are brief explanations in the margin explaining why ••••••••••••••••••• Understanding HRM
and developing HRM
and how an HRM concept is important in the day-to-day produc- skills can help you suc-
ceed both personally
tive functioning of a company. and professionally.

Takeaway Points
I. HRM influences organizational perfonnance through its influence on \vhat
employees should do, what employees can do, and what en1ployees will do. HRM
creates the system that acquires, motivates, develops, and retains the talent that
detennines the organization's success. Because employee costs are a large part of an
organization's operating budget, it is essential to properly 1nanage the investJnents a
company makes in its people.
2. The six prin1ary HRM functions are staffing, performance manage1nent, training and
develop111ent, reward~ and benefits, health and safety, and en1ployee-n1anagen1ent Discussion Questions
relations.
3. If even a single HRM functional area reinforces goals that are in conflict with the Application and reflection questions posed from the
other functional areas, influencing employee behavioL~ in desired ways and executing
the company's strategy will be much more difficult. For example, the perfonnance- perspective of both an employee and an employer.
enhancing potential of reward and incentive programs \Vill not be fully leveraged if
the training and developn1ent and staffing functions do not acquire and develop the •••
right skills. The align111ent of these separate functions creates an integrated hun1an ••
resource 111anagen1ent systen1 supporting the execution of the business strategy,
•
guided by the talent philosophy of the organization. •
••
•• ••
•
•
•
Discussion Questions
Takeaway Points 1. Which aspects of HRM discussed in this chapter are illustrated in these videos?
A numbered list of the key points of the chapter, Explain your answer.
2. How could a company's investment in HRM help or undermine its success and its
linked to the chapter's Learning Objectives .. execution of its business strategy? Explain your answer
3. How else might you answer the question of whether Happy Time Toys should
continue to invest money in HRM or reallocate some of it to sales or R&D?

Personal Development Exercise: Managing Ethical

Issues in HRM •••••••••••••••••••• Personal Development Exercises
As you learned in this chapter, there are a variety of ethical issues that exist in HRM. Work- These are exercises that students can use
ing in a group of three to five people, brainstonn at least five ethical issues that can exist in
HRM. For example, a very productive manager bullies his subordinates and treats them in to gain personal experience applying HRM
ways inconsistent with the corporate culture. Then identify how a company can use HRM to
handle these ethical challenges. Be prepared to share two of your issues and HRM solutions concepts.
with the class.

Strategic HRM Exercises

These are exercises requiring the strategic application of chapter
concepts to illustrate HRM's impact on business outcomes .
••
•
•
•
•
••
•
•
•
•
•
•
•
•
•

Strategic HRM Exercises

Exercise: Culture Choice at Amazing Apps
Form groups of three to five students. Imagine that you started a company called Amaz
Apps to develop applications for the iPad. You've had some good early success, but you nc
to hire more people to more quickly develop new products and get them up on the Apple Ste
You know that the creativity and programming talent of the people you hire is going to
critical to your company's future success, and you know that your HRM system will be J
to hiring and motivating the right talent. Be prepared to share your answers to the follow
questions with the class.
1. Describe the type of culture you would like to create in your company.
2. How would you use HRM to reinforce this culture?
3. What would be the biggest threats to establishing your intended culture, and how
could you overcome them?
 •
PREFACE XXI

Integrative Project
Introduced at the end of the first chapter, this project is
continued through the book at the end of all the succeeding
chapters. Here, you will develop your HRM skills and
gain experience in applying various HRM concepts as
you continue to build and apply your HRM knowledge
in addressing various HRM challenges facing a real or
fictitious company of your choosing .
••
••
••
•
•
••
•
••
••

Integrative Project Video Case with Discussion Questions

In the last chapter, you identified a company and an industry to focus on for this project. You Featuring the Happy Time Toys company, these video
also described the business strategy, competitive advantage, and talent philosophy you would
cases were written and filmed exclusively for this book.
use to create a competitive advantage for your business. Your assignment for this chapter is
to think about and formalize your company's position on social responsibility and ethics. The cases reinforce the relevance of each chapter's material
Record your company's formal statement about each. Feel free to research other companies'
statements online for insight into how to craft your own. Then describe the culn1re you would and enhance decision-making, analytical, and HRM skills
create at your company, explain why it is best suited to your company's needs, and explain
how it will contribute to its success.
by demonstrating the results of more and less effective
HRM policies and practices.
••
•
•
•
•
•
••
•
•
•
•
•
•

Video Case
Imagine having HR responsibilities at Happy Time Toys, a company that designs and
manufactures novelty toys. While chatting with two of your coworkers you all realize
how busy you all are and how much money the company is investing in HRM. One of
the coworkers asks if it might be worth scaling back HR and putting more money and
time into some other areas of the company, such as research and development or sales.
What do you say or do? Go to this book's video case, watch the challenge video for this
chapter, and choose the best video response. Be sure to also view the outcomes of the
two responses you didn't choose.
 ••
XX.II PREFACE

Changes to This Edition:

• All the chapter-opening Real World Challenges were updated or replaced with a cur-
rent organizational challenge or opportunity.
• New sections were added on a number of topics, including the following:
HRM systems (Chapter 1)
Global HRM (Chapter 2)
The role of HRM in risk management (Chapter 3)
Succession management (Chapter 6)
Informal learning (Chapter 7)
The gamification of training (Chapter 7)
Predicting deviance (Chapter 8)
The performance review process and continuous performance management (Chapter 8)
Efficiency wages (Chapter 9)
Worker centers (Chapter 13)
• New features and case studies were added on topics including the following:
The U.S. air traffic controller shortage
Adaptive learning
Improving collaboration through performance management
The role of pay in the home health care worker shortage
• How Patagonia uses benefits to retain employees
• Engaging employees at REI
• New end-of-chapter exercises were added on a number of topics, including the
following:
The role of HRM in risk management
What is it like to work for the Central Intelligence Agency (CIA)?
Gamified training
• Posters and statistics were updated.
• Video links were checked and updated.
• Approximately 50 new company examples were added throughout the book.

Supplements
Videos
Each chapter is supported by a video case that presents a problem or challenge in a hypo-
thetical company called Happy Time Toys. The video case is an excellent tool for sparking
discussion and debate about the appropriate course of action. For each case, we provide three
response videos that demonstrate decision making from a manager's perspective and show the
outcome of the three decisions. One of the responses is better than the other two, and all the
responses illustrate the consequences of different HRM-related decisions. Use the videos in
class to prompt discussion on the situation that all students see in the video, or assign them
within CourseBank, our homework management and online course system.
Select end of chapter exercises provide questions to use with a collection of company-
specific videos available on YouTube for students to view and study. The links to these videos
are also available within CourseBank.
 •••
PREFACE XXIII

Instructor's Manual
A comprehensive instructor's manual supports every chapter with the following:
• Chapter Overview
• Learning Objectives
• Detailed Chapter Outline
• Additional comments regarding the Real World Challenge and Real World Response
at the beginning and end of each chapter
• In-depth explanation of chapter concepts
• Expanded coverage of the HR Flexibility, Global Issues, Develop Your Skills, Strate-
gic Impact, and Case Study features
• Answers to end-of-chapter questions and exercises
• Occasional additional exercises, including an Ivey job offer negotiation exercise that
students may use for free when this book is assigned for the current class

Test Bank
A test bank has been carefully developed to cover every learning objective and term for each
chapter. It presents multiple-choice and true/false questions that are compatible with any
learning management system. Knowledge questions and application questions are included
at a variety of difficulty levels. Multiple essay questions and answers are also provided for
each chapter.

PowerPoint Slides
A Microsoft PowerPoint deck of slides for each chapter provides robust coverage of the key
chapter topics, along with text figures, tables, So What? items, and end-of-chapter questions
and exercises.

CourseBankfor Homework Management and Online Sections

This book is available with CourseBank, a system that allows instructors to easily assign and
automatically grade activities. CourseBank provides a comprehensive and flexible bank of
media, assignments, and quizzes. Use it to assign homework that results in students coming
to class better prepared, or use it as a turnkey solution for your online section, sparing the
time and effort of creating an online course from scratch.
CourseBank works with Blackboard, Canvas, D2L, or any other popular learning manage-
ment system for single sign-on and gradebook integration. Or, if you prefer, use it stand-alone.

eBook and Loose-Leaf Options

To provide students with lower-cost options, this edition is also available in loose-leaf and
digital formats. The loose-leaf edition may be ordered through your campus bookstore,
just like any other textbook. Students may also purchase it directly from our website, www.
chicagobusinesspress .com.
We also offer a value-priced ebook directly from your bookstore, our website, RedShelf,
or VitalSource. The price and usage terms are the same regardless of which source you prefer
for ebooks.
 •
XX.IV PREFACE

Acknowledgments
We would like to thank the many reviewers and book users whose feedback strengthened the
book. Their comments were invaluable. The following dedicated instructors provided specific
advice about the improvements we made in this edition:
Steven Abraham, Oswego, State University of New York
D. Apryl Brodersen, Metropolitan State University of Denver
Callie Burnley, California State Polytechnic University, Pomona
Elizabeth Cooper, University of Rhode Island
Richard Gianni, North Greenville University
Teri Huggins, Kansas City Kansas Community College
Samira Hussein, Johnson County Community College
Edward Kaplan, Trident University
Joni A. Koegel, Cazenovia College
Ashley Lesko, Central Piedmont Community College
Cynthia Simerly, Lakeland Community College
Susan Stewart, Western Illinois University
Dennis Veit, University of Texas, Arlington
Lowell Woodcock, Dutchess Community College, State University of New York
Mary Ann Zylka, Buffalo State, State University of New York
We would also like to acknowledge Paul Ducham for his support and vision for this book.
Jane Ducham was also wonderful in managing the production process and book layout and
helping us refine and execute our vision.
And finally, we would like to thank all of the people who made the Happy Time Toys
videos possible: Hebert Peck, J. Allen Suddeth, John Keller, Tom Sanitate, Pete Troost, Steve
Barcy, Greg Bryant, Dave Preston, Jon Celiberti, Danielle DiTaranto, Mike Barnhart, Alex
Fahan, Bob Paquette, Deb Andriano, Maddy Schlesinger, Diane Thorn, Kate Villanova,
Sarah Sirota, Brandon Rubin, Alejandro Baena, Katie Lydic, J. Alex Cordaro, David Dean
Hastings, and Chelsea Spack.
Discovering Diverse Content Through
Random Scribd Documents
was in this scene that the bass singer Castelmary, the Sir Tristan of a
performance of "Martha" at the Metropolitan Opera House, February
10, 1897, was stricken with heart failure and dropped dead upon the
stage.
A capital quartet opens Act II, in the farmhouse, and leads to the
spinning-wheel quartet, "Di vederlo" (What a charming occupation).
There is a duet between Lady Harriet and Lionel, in which their
growing attraction for each other finds expression, "Il suo sguardo è
dolce tanto" (To his eye, mine gently meeting). Then follows "Qui
sola, vergin rosa" ('Tis the last rose of summer), the words a poem
by Tom Moore, the music an old Irish air, "The Groves of Blarney," to
which Moore adapted "The Last Rose of Summer." A new and
effective touch is given to the old song by Flotow in having the tenor
join with the soprano at the close. Moreover, the words and music fit
so perfectly into the situation on the stage that for Flotow to have
"lifted" and interpolated them into his opera was a master-stroke. To
it "Martha" owes much of its popularity.

[Listen]
'Tis the last rose of summer, left blooming alone,

There is a duet for Lady Harriet and Lionel, "Ah! ride del mio pianto"
(She is laughing at my sorrow). The scene ends with another
quartet, one of the most beautiful numbers of the score, and known
as the "Good Night Quartet," "Dormi pur, ma il mio riposo" (Cruel
one, may dreams transport thee).
Act III, played in a hunting park in Richmond forest, on the left a
small inn, opens with a song in praise of porter, the "Canzone del
Porter" by Plunkett, "Chi mi dirà?" (Will you tell me). The pièces de
résistance of this act are the "M'apparì";

[Listen]

a solo for Nancy, "Il tuo stral nel lanciar" (Huntress fair, hastens
where); Martha's song, "Qui tranquilla almen poss'io" (Here in
deepest forest shadows); and the stirring quintet with chorus.

[Listen]

In Act IV there are a solo for Plunkett, "Il mio Lionel perirà" (Soon
my Lionel will perish), and a repetition of some of the sprightly
music of the fair scene.

It is not without considerable hesitation that I have classed "Martha"

as a French opera. For Flotow was born in Teutendorf, April 27,
1812, and died in Darmstadt January 24, 1883. Moreover, "Martha,"
was produced in Vienna, and his next best-known work, "Alessandro
Stradella," in Hamburg (1844).
The music of "Martha," however, has an elegance that not only is
quite unlike any music that has come out of Germany, but is typically
French. Flotow, in fact, was French in his musical training, and both
the plot and score of "Martha" were French in origin. The composer
studied composition in Paris under Reicha, 1827-30, leaving Paris
solely on account of the July revolution, and returning in 1835, to
remain until the revolution in March, 1848, once more drove him
away. After living in Paris again, 1863-8, he settled near Vienna,
making, however, frequent visits to that city, the French capital, and
Italy.
During his second stay in Paris he composed for the Grand Opéra
the first act of a ballet, "Harriette, ou la Servante de Greenwiche."
This ballet, the text by Vernoy and St. George, was for Adèle
Dumilâtre. The reason Flotow was entrusted with only one of the
three acts was the short time in which it was necessary to complete
the score. The other acts were assigned, one each, to Robert
Bergmüller and Édouard Deldevez. Of this ballet, written and
composed for a French dancer and a French audience, "Martha" is
an adaptation. This accounts for its being so typically French and not
in the slightest degree German. Flotow's opera "Alessandro
Stradella" also is French in origin. It is adapted from a one-act pièce
lyrique, brought out by him in Paris, in 1837. Few works produced so
long ago as "Martha" have its freshness, vivacity, and charm. Pre-
eminently graceful, it yet carries in a large auditorium like the
Metropolitan, where so many operas of the lighter variety have been
lost in space.
 Charles François Gounod
(1818-1893)

T HE composer of "Faust" was born in Paris, June 17, 1818. His

father had, in 1783, won the second prix de Rome for painting at
the École des Beaux Arts. In 1837, the son won the second prix de
Rome for music, and two years later captured the grand prix de
Rome, by twenty-five votes out of twenty-seven, at the Paris
Conservatoire. His instructors there had been Reicha in harmony,
Halévy in counterpoint and fugue, and Leseur in composition.
Gounod's first works, in Rome and after his return from there, were
religious. At one time he even thought of becoming an abbé, and on
the title-page of one of his published works he is called Abbé Charles
Gounod. A performance of his "Messe Solenelle" in London evoked
so much praise from both English and French critics that the Grand
Opéra commissioned him to write an opera. The result was "Sapho,"
performed April 16, 1851, without success. It was his "Faust" which
gave him European fame. "Faust" and his "Roméo et Juliette" (both
of which see) suffice for the purposes of this book, none of his other
operas having made a decided success.
"La Rédemption," and "Mors et Vita," Birmingham, England, 1882
and 1885, are his best-known religious compositions. They are
"sacred trilogies." Gounod died, Paris, October 17, 1893.
In Dr. Theodore Baker's Biographical Dictionary of Musicians
Gounod's merits as a composer are summed up as follows:
"Gounod's compositions are of highly poetic order, more spiritualistic
than realistic; in his finest lyrico-dramatic moments he is akin to
Weber, and his modulation even reminds of Wagner; his
instrumentation and orchestration are frequently original and
masterly." These words are as true today as when they were written,
seventeen years ago.

FAUST
Opera, in five acts, by Gounod; words by Barbier and
Carré. Produced, Théâtre Lyrique, Paris, March 19,
1859, with Miolan-Carvalho as Marguerite; Grand
Opéra, Paris, March 3, 1869, with Christine Nilsson as
Marguerite, Colin as Faust, and Faure as
Méphistophélès. London, Her Majesty's Theatre, June
11, 1863; Royal Italian Opera, Covent Garden, July 2,
1863, in Italian, as "Faust e Margherita"; Her Majesty's
Theatre, January 23, 1864, in an English version by
Chorley, for which, Santley being the Valentine,
Gounod composed what was destined to become one
of the most popular numbers of the opera, "Even
bravest heart may swell" ("Dio possente"). New York,
Academy of Music, November 26, 1863, in Italian, with
Clara Louise Kellogg (Margherita), Henrietta Sulzer
(Siebel), Fanny Stockton (Martha), Francesco
Mazzoleni (Faust), Hannibal Biachi (Méphistophélès),
G. Yppolito (Valentine), D. Coletti (Wagner).
Metropolitan Opera House, opening night, October 22,
1883, with Nilsson, Scalchi, Lablache, Campanini,
Novara, Del Puente.
Characters

Faust, a learned doctor Tenor

Méphistophélès, Satan Bass
Marguerite Soprano
Valentine, a soldier, brother to
Baritone
Marguerite
Siebel, a village youth, in love Mezzo-
with Marguerite Soprano
Wagner, a student Baritone
Martha Schwerlein, neighbour to Mezzo-
Marguerite Soprano
Students, soldiers, villagers, angels, demons,
Cleopatra, Laïs, Helen of Troy, and others.
Time—16th Century.
Place—Germany.

Copyright photo by Dupont

 Plançon as Méphistophélès in “Faust”

Popular in this country from the night of its American production,

Gounod's "Faust" nevertheless did not fully come into its own here
until during the Maurice Grau régime at the Metropolitan Opera
House. Sung in French by great artists, every one of whom was
familiar with the traditions of the Grand Opéra, Paris, the work was
given so often that William J. Henderson cleverly suggested
"Faustspielhaus" as an appropriate substitute for the name of New
York's yellow brick temple of opera; a mot which led Krehbiel, in a
delightful vein of banter, to exclaim, "Henderson, your German jokes
are better than your serious German!"
Several distinguished singers have been heard in this country in the
rôle of Faust. It is doubtful if that beautiful lyric number, Faust's
romance, "Salut! demeure chaste et pure" (Hail to the dwelling
chaste and pure), ever has been delivered here with more exquisite
vocal phrasing than by Campanini, who sang the Italian version, in
which the romance becomes "Salve! dimora casta e pura." That was
in the old Academy of Music days, with Christine Nilsson as
Marguerite, which she had sung at the revival of the work by the
Paris Grand Opéra. The more impassioned outbursts of the Faust
rôle also were sung with fervid expression by Campanini, so great an
artist, in the best Italian manner, that he had no Italian successor
until Caruso appeared upon the scene.
Yet, in spite of the Faust of these two Italian artists, Jean de Reszke
remains the ideal Faust of memory. With a personal appearance
distinguished beyond that of any other operatic artist who has been
heard here, an inborn chivalry of deportment that made him a lover
after the heart of every woman, and a refinement of musical
expression that clarified every rôle he undertook, his Faust was the
most finished portrayal of that character in opera that has been
heard here. Jean de Reszke's great distinction was that everything
he did was in perfect taste. Haven't you seen Faust after Faust keep
his hat on while making love to Marguerite? Jean de Reszke, a
gentleman, removed his before ever he breathed of romance.
Muratore is an admirable Faust, with all the refinements of phrasing
and acting that characterize the best traditions of the Grand Opéra,
Paris.
Great tenors do not, as a rule, arrive in quick succession. In this
country we have had two distinct tenor eras and now are in a third.
We had the era of Italo Campanini, from 1873 until his voice became
impaired, about 1880. Not until eleven years later, 1891, did opera in
America become so closely associated with another tenor, that there
may be said to have begun the era of Jean de Reszke. It lasted until
that artist's voluntary retirement. We are now in the era of Enrico
Caruso, whose repertoire includes Faust in French.
Christine Nilsson, Adelina Patti, Melba, Eames, Calvé, have been
among the famous Marguerites heard here. Nilsson and Eames may
have seemed possessed of too much natural reserve for the rôle; but
Gounod's librettists made Marguerite more refined than Goethe's
Gretchen. Patti acted the part with great simplicity and sang it
flawlessly. In fact her singing of the ballad "Il était un roi de Thulé"
(There once was a king of Thule) was a perfect example of the
artistically artless in song. It seemed to come from her lips merely
because it chanced to be running through her head. Melba's type of
beauty was somewhat mature for the impersonation of the
character, but her voice lent itself beautifully to it. Calvé's Marguerite
is recalled as a logically developed character from first note to last,
and as one of the most original and interesting of Marguerites. But
Americans insisted on Calvé's doing nothing but Carmen. When she
sang in "Faust" she appeared to them a Carmen masquerading as
Marguerite. So back to Carmen she had to go. Sembrich and Farrar
are other Marguerites identified with the Metropolitan Opera House.
Plançon unquestionably was the finest Méphistophélès in the history
of the opera in America up to the present time—vivid, sonorous, and
satanically polished or fantastical, as the rôle demanded.
Gounod's librettists, Michel Carré and Jules Barbier, with a true Gallic
gift for practicable stage effect, did not seek to utilize the whole of
Goethe's "Faust" for their book, but contented themselves with the
love story of Faust and Marguerite, which also happens to have been
entirely original with the author of the play, since it does not occur in
the legends. But because the opera does not deal with the whole of
"Faust," Germany, where Gounod's work enjoys great popularity,
refuses to accept it under the same title as the play, and calls it
"Margarethe" after the heroine.
As reconstructed for the Grand Opéra, where it was brought out ten
years after its production at the Théâtre Lyrique, "Faust" develops as
follows:
There is a brief prelude. A ff on a single note, then mysterious,
chromatic chords, and then the melody which Gounod composed for
Santley.
Act I. Faust's study. The philosopher is discovered alone, seated at a
table on which an open tome lies before him. His lamp flickers in its
socket. Night is about turning to dawn.
Faust despairs of solving the riddle of the universe. Aged, his pursuit
of science vain, he seizes a flask of poison, pours it into a crystal
goblet, and is about to drain it, when, day having dawned, the
cheerful song of young women on their way to work arrests him.
The song dies away. Again he raises the goblet, only to pause once
more, as he hears a chorus of labourers, with whose voices those of
the women unite. Faust, beside himself at these sounds of joy and
youth, curses life and advancing age, and calls upon Satan to aid
him.
There is a flash of red light and out of it, up through the floor, rises
Méphistophélès, garbed as a cavalier, and in vivid red. Alternately
suave, satirical, and demoniacal in bearing, he offers to Faust wealth
and power. The philosopher, however, wants neither, unless with the
gift also is granted youth. "Je veux la jeunesse" (What I long for is
youth). That is easy for his tempter, if the aged philosopher, with
pen dipped in his blood, will but sign away his soul. Faust hesitates.
At a gesture from Méphistophélès the scene at the back opens and
discloses Marguerite seated at her spinning-wheel, her long blond
braid falling down her back. "Ô Merveille!" (A miracle!) exclaims
Faust, at once signs the parchment, and drains to the vision of
Marguerite a goblet proffered him by Méphistophélès. The scene
fades away, the philosopher's garb drops off Faust. The grey beard
and all other marks of old age vanish. He stands revealed a youthful
gallant, eager for adventure, instead of the disappointed scholar
weary of life. There is an impetuous duet for Faust and
Méphistophélès: "À moi les plaisirs" ('Tis pleasure I covet). They
dash out of the cell-like study in which Faust vainly has devoted
himself to science.
Act II. Outside of one of the city gates. To the left is an inn, bearing
as a sign a carved image of Bacchus astride a keg. It is kermis time.
There are students, among them Wagner, burghers old and young,
soldiers, maidens, and matrons.
The act opens with a chorus. "Faust" has been given so often that
this chorus probably is accepted by most people as a commonplace.
In point of fact it is an admirable piece of characterization. The
groups of people are effectively differentiated in the score. The
toothless chatter of the old men (in high falsetto) is an especially
amusing detail. In the end the choral groups are deftly united.
Valentine and Siebel join the kermis throng. The former is examining
a medallion which his sister, Marguerite, has given him as a charm
against harm in battle. He sings a cavatina. It is this number which
Gounod composed for Santley. As most if not all the performances of
"Faust" in America, up to the time Grau introduced the custom of
giving opera in the language of the original score, were in Italian,
this cavatina is familiarly known as the "Dio possente" (To thee, O
Father!). In French it is "À toi, Seigneur et Roi des Cieux" (To Thee,
O God, and King of Heaven). Both in the Italian and French,
Valentine prays to Heaven to protect his sister during his absence. In
English, "Even bravest heart may swell," the number relates chiefly
to Valentine's ambitions as a soldier.
Wagner mounts a table and starts the "Song of the Rat." After a few
lines he is interrupted by the sudden appearance of Méphistophélès,
who, after a brief parley, sings "Le veau d'or" (The golden calf), a
cynical dissertation on man's worship of mammon. He reads the
hands of those about him. To Siebel he prophesies that every flower
he touches shall wither. Rejecting the wine proffered him by Wagner,
he strikes with his sword the sign of the inn, the keg, astride of
which sits Bacchus. Like a stream of wine fire flows from the keg
into the goblet held under the spout by Méphistophélès, who raising
the vessel, pledges the health of Marguerite.
This angers Valentine and leads to the "Scène des épées" (The
scene of the swords). Valentine unsheathes his blade.
Méphistophélès, with his sword describes a circle about himself.
Valentine makes a pass at his foe. As the thrust carries his sword
into the magic circle, the blade breaks. He stands in impotent rage,
while Méphistophélès mocks him. At last, realizing who his opponent
is, Valentine grasps his sword by its broken end, and extends the
cruciform hilt toward the red cavalier. The other soldiers follow their
leader's example. Méphistophélès, no longer mocking, cowers before
the cross-shaped sword hilts held toward him, and slinks away. A
sonorous chorus, "Puisque tu brises le fer" (Since you have broken
the blade) for Valentine and his followers distinguishes this scene.
The crowd gathers for the kermis dance—"the waltz from Faust,"
familiar the world round, and undulating through the score to the
end of the gay scene, which also concludes the act. While the crowd
is dancing and singing, Méphistophélès enters with Faust. Marguerite
approaches. She is on her way from church, prayerbook in hand.
Siebel seeks to join her. But every time the youth steps toward her
he confronts the grinning yet sinister visage of Méphistophélès, who
dexterously manages to get in his way. Meanwhile Faust has joined
her. There is a brief colloquy. He offers his arm and conduct through
the crowd. She modestly declines. The episode, though short, is
charmingly melodious. The phrases for Marguerite can be made to
express coyness, yet also show that she is not wholly displeased
with the attention paid her by the handsome stranger. She goes her
way. The dance continues. "Valsons toujours" (Waltz alway!).
Act III. Marguerite's garden. At the back a wall with a wicket door.
To the left a bower. On the right Marguerite's house, with a bow
window facing the audience. Trees, shrubs, flower beds, etc.
Siebel enters by the wicket. Stopping at one of the flower beds and
about to pluck a nosegay, he sings the graceful "Faites-lui mes
aveux" (Bear my avowal to her). But when he culls a flower, it
shrivels in his hand, as Méphistophélès had predicted. The boy is
much perturbed. Seeing, however, a little font with holy water
suspended by the wall of the house, he dips his fingers in it. Now
the flowers no longer shrivel as he culls them. He arranges them in a
bouquet, which he lays on the house step, where he hopes
Marguerite will see it. He then leaves.
Faust enters with Méphistophélès, but bids the latter withdraw, as if
he sensed the incongruity of his presence near the home of a
maiden so pure as Marguerite. The tempter having gone, Faust
proceeds to apostrophize Marguerite's dwelling in the exquisite
romance, "Salut! demeure chaste et pure."

[Listen]

Méphistophélès returns. With him he brings a casket of jewels and a

handsome bouquet. With these he replaces Siebel's flowers. The two
men then withdraw into a shadowy recess of the garden to await
Marguerite's return.
She enters by the wicket. Her thoughts are with the handsome
stranger—above her in station, therefore the more flattering and
fascinating in her eyes—who addressed her at the kermis. Pensively
she seats herself at her spinning-wheel and, while turning it, without
much concentration of mind on her work, sings "Le Roi de Thulé,"
the ballad of the King of Thule, her thoughts, however, returning to
Faust before she resumes and finishes the number, which is set in
the simple fashion of a folk-song.
Approaching the house, and about to enter, she sees the flowers,
stops to admire them, and to bestow a thought of compassion upon
Siebel for his unrequited devotion, then sees and hesitatingly opens
the casket of jewels. Their appeal to her feminine vanity is too great
to permit her to return them at once to the casket. Decking herself
out in them, she regards herself and the sparkling gems in the
handglass that came with them, then bursts into the brilliant "Air des
Bijoux" (Jewel Song):

[Listen]

Ah! je ris de me voir

Si belle en ce miroir!...
Est-ce toi, Marguerite?

(Ah! I laugh just to view—

Marguerite! Is it you?—
Such a belle in the glass!...)

one of the most brilliant airs for coloratura soprano, affording the
greatest contrast to the folklike ballad which preceded it, and
making with it one of the most effective scenes in opera for a
soprano who can rise to its demands: the chaste simplicity required
for the ballad, the joyous abandon and faultless execution of
elaborate embellishments involved in the "Air des Bijoux." When well
done, the scene is brilliantly successful; for, added to its own
conspicuous merit, is the fact that, save for the very brief episode in
Act II, this is the first time in two and a half acts that the limpid and
grateful tones of a solo high soprano have fallen upon the ear.
Martha, the neighbour and companion of Marguerite, joins her. In
the manner of the average duenna, whose chief duty in opera is to
encourage love affairs, however fraught with peril to her charge, she
is not at all disturbed by the gift of the jewels or by the entrance
upon the scene of Faust and Méphistophélès. Nor, when the latter
tells her that her husband has been killed in the wars, does she
hesitate, after a few exclamations of rather forced grief, to seek
consolation on the arm of the flatterer in red, who leads her off into
the garden, leaving Faust with Marguerite. During the scene
immediately ensuing the two couples are sometimes in view,
sometimes lost to sight in the garden. The music is a quartet,
beginning with Faust's "Prenez mon bras un moment" (Pray lean
upon mine arm). It is artistically individualized. The couples and
each member thereof are deftly characterized in Gounod's score.
For a moment Méphistophélès holds the stage alone. Standing by a
bed of flowers in an attitude of benediction, he invokes their subtle
perfume to lull Marguerite into a false sense of security. "Il était
temps!" (It was the hour), begins the soliloquy. For a moment, as it
ends, the flowers glow. Méphistophélès withdraws into the shadows.
Faust and Marguerite appear. Marguerite plucks the petals of a
flower: "He loves me—he loves me not—he loves!" There are two
ravishing duets for the lovers, "Laisse-moi contempler ton visage"
(Let me gaze upon thy beauty), and "Ô nuit d'amour ... ciel radieux!"
 [Listen]

(Oh, night of love! oh, starlit sky!). The music fairly enmeshes the
listener in its enchanting measures.

[Listen]

Faust and Marguerite part, agreeing to meet on the morrow—"Oui,

demain! des l'aurore!" (Yes, tomorrow! at dawn!). She enters the
house. Faust turns to leave the garden. He is confronted by
Méphistophélès, who points to the window. The casement is opened
by Marguerite, who believes she is alone. Kneeling in the window,
she gazes out upon the night flooded with moonlight. "Il m'aime; ...
Ah! presse ton retour, cher bien-aimé! Viens!" (He loves me; ah!
haste your return, dearly beloved! Come!).
With a cry, Faust rushes to the open casement, sinks upon his
knees. Marguerite, with an ecstatic exclamation, leans out of the
embrasure and allows him to take her into his arms. Her head rests
upon his shoulder.
At the wicket is Méphistophélès, shaking with laughter.
Act IV. The first scene in this act takes place in Marguerite's room.
No wonder Méphistophélès laughed when he saw her in Faust's
arms. She has been betrayed and deserted. The faithful Siebel,
however, still offers her his love—"Si la bonheur à sourire t'invite"
(When all was young and pleasant, May was blooming)—but
Marguerite still loves the man who betrayed her, and hopes against
hope that he will return.
This episode is followed by the cathedral scene. Marguerite has
entered the edifice and knelt to pray. But, invisible to her,
Méphistophélès stands beside her and reminds her of her guilt. A
chorus of invisible demons calls to her accusingly. Méphistophélès
foretells her doom. The "Dies iræ," accompanied on the organ, is
heard. Marguerite's voice joins with those of the worshippers. But
Méphistophélès, when the chant is ended, calls out that for her, a
lost one, there yawns the abyss. She flees in terror. This is one of
the most significant episodes of the work.
Now comes a scene in the street, in front of Marguerite's house. The
soldiers return from war and sing their familiar chorus, "Gloire
immortelle" (Glory immortal). Valentine, forewarned by Siebel's
troubled mien that all is not well with Marguerite, goes into the
house. Faust and Méphistophélès come upon the scene. Facing the
house, and accompanying himself on his guitar, the red gallant sings
an offensive serenade. Valentine, aroused by the insult, which he
correctly interprets as aimed at his sister, rushes out. There is a
spirited trio, "Redouble, ô Dieu puissant" (Give double strength,
great God on high). Valentine smashes the guitar with his sword,
then attacks Faust, whose sword-thrust, guided by Méphistophélès,
mortally wounds Marguerite's brother. Marguerite comes into the
street, throws herself over Valentine's body. With his dying breath
her brother curses her.
Sometimes the order of the scenes in this act is changed. It may
open with the street scene, where the girls at the fountain hold
themselves aloof from Marguerite. Here the brief meeting between
the girl and Siebel takes place. Marguerite then goes into the house;
the soldiers return, etc. The act then ends with the cathedral scene.
Act V. When Gounod revised "Faust" for the Grand Opéra, Paris, the
traditions of that house demanded a more elaborate ballet than the
dance in the kermis scene afforded. Consequently the authors
reached beyond the love story of Faust and Marguerite into the
second part of Goethe's drama and utilized the legendary revels of
Walpurgis Night (eve of May 1st) on the Brocken, the highest point
of the Hartz mountains. Here Faust meets the courtesans of
antiquity—Laïs, Cleopatra, Helen of Troy, Phryne. "Les Nubiennes,"
"Cléopatra et la Coupe d'Or" (Cleopatra and the Goblet of Gold), "Les
Troyennes" (The Troyan Women), "Variation," and "Dance de
Phryne" are the dances in this ballet. More frequently than not the
scene is omitted. To connect it with the main story, there comes to
Faust, in the midst of the revels, a vision of Marguerite. Around her
neck he beholds a red line, "like the cut of an axe." He commands
Méphistophélès to take him to her.
They find her in prison, condemned to death for killing her child.
There is an impassioned duet for Faust and Marguerite. He begs her
to make her escape with him. But her mind is wandering. In
snatches of melody from preceding scenes, she recalls the episode
at the kermis, the night in the garden. She sees Méphistophélès,
senses his identity with the arch-fiend. There is a superb trio, in
which Marguerite ecstatically calls upon angels to intervene and save
her—"Anges purs! Anges radieux!" (Angels pure, radiant, bright).

[Listen]

The voices mount higher and higher, Marguerite's soaring to a

splendid climax. She dies.
"Condemned!" cries Méphistophélès.
"Saved," chant ethereal voices.
The rear wall of the prison opens. Angels are seen bearing
Marguerite heavenward. Faust falls on his knees in prayer.
Méphistophélès turns away, "barred by the shining sword of an
archangel."
During the ten years that elapsed between the productions at the
Théâtre Lyrique and the Grand Opéra, "Faust" had only thirty-seven
performances. Within eight years (1887) after it was introduced to
the Grand Opéra, it had 1000 performances there. From 1901-1910
it was given nearly 3000 times in Germany. After the score had been
declined by several publishers, it was brought out by Choudens, who
paid Gounod 10,000 francs ($2000) for it, and made a fortune out of
the venture. For the English rights the composer is said to have
received only £40 ($200) and then only upon the insistence of
Chorley, the author of the English version.

ROMÉO ET JULIETTE
ROMEO AND JULIET

Opera in five acts, by Gounod; words by Barbier and

Carré, after the tragedy by Shakespeare. Produced
Paris, Théâtre Lyrique, April 27, 1867; January, 1873,
taken over by the Opéra Comique; Grand Opéra,
November 28, 1888. London, Covent Garden, in
Italian, July 11, 1867. New York, Academy of Music,
November 15, 1867, with Minnie Hauck as Juliet;
Metropolitan Opera House, December 14, 1891, with
Eames (Juliet), Jean de Reszke (Romeo), Édouard de
Reszke (Friar Lawrence). Chicago, December 15, 1916,
with Muratore as Romeo and Galli-Curci as Juliet.
Characters

The Duke of Verona Bass

Count Paris Baritone
 Count Capulet Bass
Juliet, his daughter Soprano
Gertrude, her nurse Mezzo-Soprano
Tybalt, Capulet's nephew Tenor
Romeo, a Montague Tenor
Mercutio Baritone
Benvolio, Romeo's page Soprano
Gregory, a Capulet retainer Baritone
Friar Lawrence Bass
Nobles and ladies of Verona, citizens, soldiers, monks,
and pages.
Time—14th Century.
Place—Verona.
Having gone to Goethe for "Faust," Gounod's librettists, Barbier and
Carré, went to Shakespeare for "Roméo et Juliette," which, like
"Faust," reached the Paris Grand Opéra by way of the Théâtre
Lyrique. Mme. Miolan-Carvalho, the original Marguerite, also created
Juliette.
"Roméo et Juliette" has been esteemed more highly in France than
elsewhere. In America, save for performances in New Orleans, it was
only during the Grau régime at the Metropolitan Opera House, when
it was given in French with casts familiar with the traditions of the
Grand Opéra, that it can be said regularly to have held a place in the
repertoire. Eames is remembered as a singularly beautiful Juliette,
vocally and personally; Capoul, Jean de Reszke, and Saléza, as
Roméos; Édouard de Reszke as Frère Laurent.
Nicolini, who became Adelina Patti's second husband, sang Roméo at
the Grand Opéra to her Juliette. She was then the Marquise de Caux,
her marriage to the Marquis having been brought about by the
Empress Eugénie. But that this marriage was not to last long, and
that the Romeo and Juliet were as much in love with each other in
actual life as on the stage, was revealed one night to a Grand Opéra
audience, when, during the balcony scene, prima donna and tenor—
so the record says—imprinted twenty-nine real kisses on each
other's lips.
The libretto is in five acts and follows closely, often even to the text,
Shakespeare's tragedy. There is a prologue in which the characters
and chorus briefly rehearse the story that is to unfold itself.
Act I. The grand hall in the palace of the Capulets. A fête is in
progress. The chorus sings gay measures. Tybalt speaks to Paris of
Juliet, who at that moment appears with her father. Capulet bids the
guests welcome and to be of good cheer—"Soyez les bienvenus,
amis" (Be ye welcome, friends), and "Allons! jeunes gens! Allons!
belles dames!" (Bestir ye, young nobles! And ye, too, fair ladies!).
Romeo, Mercutio, Benvolio, and half-a-dozen followers come
masked. Despite the deadly feud between the two houses, they,
Montagues, have ventured to come as maskers to the fête of the
Capulets. Mercutio sings of Queen Mab, a number as gossamerlike in
the opera as the monologue is in the play; hardly ever sung as it
should be, because the rôle of Mercutio rarely is assigned to a
baritone capable of doing justice to the airy measures of "Mab, la
reine des mensonges" (Mab, Queen Mab, the fairies' midwife).
The Montagues withdraw to another part of the palace. Juliet returns
with Gertrude, her nurse. Full of high spirits, she sings the graceful
and animated waltz, "Dans ce rêve, qui m'enivre" (Fair is the tender
dream of youth).

[Listen]
The nurse is called away. Romeo, wandering in, meets Juliet. Their
love, as in the play, is instantaneous. Romeo addresses her in
passionate accents, "Ange adorable" (Angel! adored one). His
addresses, Juliet's replies, make a charming duo.
Upon the re-entry of Tybalt, Romeo, who had removed his mask,
again adjusts it. But Tybalt suspects who he is, and from the
utterance of his suspicions, Juliet learns that the handsome youth, to
whom her heart has gone out, is none other than Romeo, scion of
the Montagues, the sworn enemies of her house. The fiery Tybalt is
for attacking Romeo and his followers then and there. But old
Capulet, respecting the laws of hospitality, orders that the fête
proceed.
Act II. The garden of the Capulets. The window of Juliet's
apartment, and the balcony, upon which it gives. Romeo's page,
Stephano, a character introduced by the librettists, holds a ladder by
which Romeo ascends to the balcony. Stephano leaves, bearing the
ladder with him.
Romeo sings, "Ah! lève-toi, soleil" (Ah! fairest dawn arise). The
window opens, Juliet comes out upon the balcony. Romeo conceals
himself. From her soliloquy he learns that, although he is a
Montague, she loves him. He discloses his presence. The
interchange of pledges is exquisite. Lest the sweetness of so much
love music become too cloying, the librettists interrupt it with an
episode. The Capulet retainer, Gregory, and servants of the house,
suspecting that an intruder is in the garden, for they have seen
Stephano speeding away, search unsuccessfully and depart.
The nurse calls. Juliet re-enters her apartment. Romeo sings, "Ô nuit
divine" (Oh, night divine). Juliet again steals out upon the balcony.
"Ah! je te l'ai dit, je t'adore!" (Ah, I have told you that I adore you),
sings Romeo. There is a beautiful duet, "Ah! ne fuis pas encore!"
(Ah, do not flee again). A brief farewell. The curtain falls upon the
"balcony scene."
Act III, Part I. Friar Lawrence's cell. Here takes place the wedding of
Romeo and Juliet, the good friar hoping that their union may lead to
peace between the two great Veronese houses of Montague and
Capulet. There are in this part of the act Friar Lawrence's prayer,
"Dieu, qui fis l'homme à ton image" (God, who made man in Thine
image); a trio, in which the friar chants the rubric, and the pair
respond; and an effective final quartet for Juliet, Gertrude, Romeo,
and Friar Lawrence.
Part II. A street near Capulet's house. Stephano, having vainly
sought Romeo, and thinking he still may be in concealment in
Capulet's garden, sings a ditty likely to rouse the temper of the
Capulet household, and bring its retainers into the street, thus
affording Romeo a chance to get away. The ditty is "Que fais-tu,
blanche tourterelle" (Gentle dove, why art thou clinging?). Gregory
and Stephano draw and fight. The scene develops, as in the play.
Friends of the two rival houses appear. Mercutio fights Tybalt and is
slain, and is avenged by Romeo, who kills Tybalt, Juliet's kinsman,
and, in consequence, is banished from Verona by the Duke.
 Photo copyright, 1916, by Victor Georg

Galli-Curci as Juliette in “Roméo et Juliette”

Act IV. It is the room of Juliet, to which Romeo has found access, in
order to bid her farewell, before he goes into exile. The lingering
adieux, the impassioned accents in which the despair of parting is
expressed—these find eloquent utterance in the music. There is the
duet, "Nuit d'hyménée, Ô douce nuit d'amour" (Night hymeneal,
sweetest night of love). Romeo hears the lark, sure sign of
approaching day, but Juliet protests. "Non, non, ce n'est pas le jour"
(No, no! 'Tis not yet the day). Yet the parting time cannot be put off
longer. Romeo: "Ah! reste! reste encore dans mes bras enlacés" (Ah!
rest! rest once more within mine entwining arms); then both, "Il faut
partir, hélas" (Now we must part, alas).
Hardly has Romeo gone when Gertrude runs in to warn Juliet that
her father is approaching with Friar Lawrence. Tybalt's dying wish,
whispered into old Capulet's ear, was that the marriage between
Juliet and the noble whom Capulet has chosen for her husband,
Count Paris, be speeded. Juliet's father comes to bid her prepare for
the marriage. Neither she, the friar, nor the nurse dare tell Capulet
of her secret nuptials with Romeo. This gives significance to the
quartet, "Ne crains rien" (I fear no more). Capulet withdraws,
leaving, as he supposes, Friar Lawrence to explain to Juliet the
details of the ceremony. It is then the friar, in the dramatic, "Buvez
donc ce breuvage" (Drink then of this philtre), gives her the potion,
upon drinking which she shall appear as dead.
The scene changes to the grand hall of the palace. Guests arrive for
the nuptials. There is occasion for the ballet, so essential for a
production at the Grand Opéra. Juliet drains the vial, falls as if dead.
Act V. The tomb of the Capulets. Romeo, having heard in his exile
that his beloved is no more, breaks into the tomb. She, recovering
from the effects of the philtre, finds him dying, plunges a dagger
into her breast, and expires with him.
In the music there is an effective prelude. Romeo, on entering the
tomb, sings, "Ô ma femme! ô ma bien aimée" (O wife, dearly
beloved). Juliet, not yet aware that Romeo has taken poison, and
Romeo forgetting for the moment that death's cold hand already is
reaching out for him, they sing, "Viens fuyons au bout du monde"
(Come, let us fly to the ends of the earth). Then Romeo begins to
feel the effect of the poison, and tells Juliet what he has done.
"Console-toi, pauvre âme" (Console thyself, sad heart). But Juliet will
not live without him, and while he, in his wandering mind, hears the
lark, as at their last parting, she stabs herself.
As "Roméo et Juliette" contains much beautiful music, people may
wonder why it lags so far behind "Faust" in popularity. One reason is
that, in the layout of the libretto the authors deliberately sought to
furnish Gounod with another "Faust," and so challenged comparison.
Even Stephano, a character of their creation, was intended to give
the same balance to the cast that Siebel does to that of "Faust." In a
performance of Shakespeare's play it is possible to act the scene of
parting without making it too much the duplication of the balcony
scene, which it appears to be in the opera. The "balcony scene" is
an obvious attempt to create another "garden scene." But in "Faust,"
what would be the too long-drawn-out sweetness of too much love
music is overcome, in the most natural manner, by the brilliant
"Jewel Song," and by Méphistophélès's sinister invocation of the
flowers. In "Roméo et Juliette," on the other hand, the interruption
afforded by Gregory and the chorus is too artificial not to be merely
disturbing.
It should be said again, however, that French audiences regard the
work with far more favour than we do. "In France," says Storck, in
his Opernbuch, "the work, perhaps not unjustly, is regarded as
Gounod's best achievement, and has correspondingly numerous
performances."
 Ambroise Thomas

MIGNON
Opera in three acts by Ambroise Thomas, words,
based on Goethe's "Wilhelm Meister," by Barbier and
Carré. Produced, Opéra Comique, Paris, November 17,
1866. London, Drury Lane, July 5, 1870. New York,
Academy of Music, November 22, 1871, with Nilsson,
Duval (Filina), Mlle. Ronconi (Frederick) and Capoul;
Metropolitan Opera House, October 21, 1883, with
Nilsson, Capoul, and Scalchi (Frederick).
Characters

Mignon, stolen in childhood

Mezzo-Soprano
from an Italian castle
Philine, an actress Soprano
Buffo Tenor or
Frédéric, a young nobleman
Contralto
Wilhelm, a student on his
Tenor
travels
Laertes, an actor Tenor
Lothario Bass
Giarno, a gypsy Bass
Antonio, a servant Bass
Townspeople, gypsies, actors and actresses, servants,
etc.
Time—Late 18th Century.
 Place—Acts I and II, Germany. Act III, Italy.
Notwithstanding the popularity of two airs in "Mignon"—"Connais-tu
le pays?" and the "Polonaise"—the opera is given here but
infrequently. It is a work of delicate texture; of charm rather than
passion; with a story that is, perhaps, too ingenuous to appeal to
the sophisticated audience of the modern opera house. Moreover the
"Connais-tu le pays" was at one time done to death here, both by
concert singers and amateurs. Italian composers are fortunate in
having written music so difficult technically that none but the most
accomplished singers can risk it.
The early performances of "Mignon" in this country were in Italian,
and were more successful than the later revivals in French, by which
time the opera had become somewhat passé. From these early
impressions we are accustomed to call Philine by her Italian
equivalent of Filina. Frédéric, since Trebelli appeared in the rôle in
London, has become a contralto instead of a buffo tenor part. The
"Rondo Gavotte" in Act II, composed for her by Thomas, has since
then been a fixture in the score. She appeared in the rôle at the
Metropolitan Opera House, December 5, 1883, with Nilsson and
Capoul.
Act I. Courtyard of a German inn. Chorus of townspeople and
travellers. Lothario, a wandering minstrel, sings, accompanying
himself on his harp, "Fugitif et tremblant" (A lonely wanderer). Filina
and Laertes, on the way with their troupe to give a theatrical
performance in a neighbouring castle, appear on a balcony. Mignon
is sleeping on straw in the back of a gypsy cart. Giarno, chief of the
gypsy band, rouses her. She refuses to dance. He threatens her with
a stick. Lothario and Wilhelm protect her. Mignon divides a bouquet
of wild flowers between them.
Laertes, who has come down from the balcony, engages Wilhelm in
conversation. Filina joins them. Wilhelm is greatly impressed with
her blonde beauty. He does not protest when Laertes takes from him
the wild flowers he has received from Mignon and hands them to
Filina.
When Filina and Laertes have gone, there is a scene between
Wilhelm and Mignon. The girl tells him of dim memories of her
childhood—the land from which she was abducted. It is at this point
she sings "Connais-tu le pays" (Knowest thou the land). Wilhelm
decides to purchase her freedom, and enters the inn with Giarno to
conclude the negotiations. Lothario, who is about to wander on, has
been attracted to her, and, before leaving, bids her farewell. They
have the charming duet, "Légères hirondelles" (O swallows, lightly
gliding). There is a scene for Filina and Frédéric, a booby, who is in
love with her. Filina is after better game. She is setting her cap for
Wilhelm. Lothario wishes to take Mignon with him. But Wilhelm fears
for her safety with the old man, whose mind sometimes appears to
wander. Moreover Mignon ardently desires to remain in the service
of Wilhelm who has freed her from bondage to the gypsies, and,
when Wilhelm declines to let her go with Lothario, is enraptured,
until she sees her wild flowers in Filina's hand. For already she is
passionately in love with Wilhelm, and jealous when Filina invites
him to attend the theatricals at the castle. Wilhelm waves adieu to
Filina, as she drives away. Lothario, pensive, remains seated.
Mignon's gaze is directed toward Wilhelm.
Act II. Filina's boudoir at the castle. The actress sings of her
pleasure in these elegant surroundings and of Wilhelm. Laertes is
heard without, singing a madrigal to Filina, "Belle, ayez pitié de
nous" (Fair one, pity take on us).
He ushers in Wilhelm and Mignon, then withdraws. Mignon,
pretending to fall asleep, watches Wilhelm and Filina. While Wilhelm
hands to the actress various toilet accessories, they sing a graceful
duet, "Je crois entendre les doux compliments" (Pray, let me hear
now the sweetest of phrases). Meanwhile Mignon's heart is
tormented with jealousy. When Wilhelm and Filina leave the boudoir
the girl dons one of Filina's costumes, seats herself at the mirror and
puts on rouge and other cosmetics, as she has seen Filina do. In a
spirit of abandon she sings a "Styrienne," "Je connais un pauvre
enfant" (A gypsy lad I well do know). She then withdraws into an
adjoining room. Frédéric enters the boudoir in search of Filina. He
sings the gavotte, "Me voici dans son boudoir" (Here am I in her
boudoir). Wilhelm comes in, in search of Mignon. The men meet.
There is an exchange of jealous accusations. They are about to
fight, when Mignon rushes between them. Frédéric recognizes
Filina's costume on her, and goes off laughing. Wilhelm, realizing the
awkward situation that may arise from the girl's following him about,
tells her they must part. "Adieu, Mignon, courage" (Farewell,
Mignon, have courage). She bids him a sad farewell. Filina re-enters.
Her sarcastic references to Mignon's attire wound the girl to the
quick. When Wilhelm leads out the actress on his arm, Mignon
exclaims: "That woman! I loathe her!"
The second scene of this act is laid in the castle park. Mignon, driven
to distraction, is about to throw herself into the lake, when she hears
the strains of a harp. Lothario, who has wandered into the park, is
playing. There is an exchange of affection, almost paternal on his
part, almost filial on hers, in their duet, "As-tu souffert? As-tu
pleureé?" (Hast thou known sorrow? Hast thou wept?). Mignon
hears applause and acclaim from the conservatory for Filina's acting.
In jealous rage she cries out that she wishes the building might be
struck by lightning and destroyed by fire; then runs off and
disappears among the trees. Lothario vaguely repeats her words.
"'Fire,' she said! Ah, 'fire! fire!'" Through the trees he wanders off in
the direction of the conservatory, just as its doors are thrown open
and the guests and actors issue forth.
They have been playing "A Midsummer Night's Dream," and Filina,
flushed with success, sings the brilliant "Polonaise," "Je suis Titania"
(Behold Titania, fair and gay). Mignon appears. Wilhelm, who has
sadly missed her, greets her with so much joy that Filina sends her
into the conservatory in search of the wild flowers given to Wilhelm
the day before. Soon after Mignon has entered the conservatory it is
seen to be in flames. Lothario, obedient to her jealous wish, has set
it on fire. At the risk of his life Wilhelm rushes into the burning
building and reappears with Mignon's fainting form in his arms. He
places her on a grassy bank. Her hand still holds a bunch of
withered flowers.
Act III. Gallery in an Italian castle, to which Wilhelm has brought
Mignon and Lothario. Mignon has been dangerously ill. A boating
chorus is heard from the direction of a lake below. Lothario, standing
by the door of Mignon's sick-room, sings a lullaby, "De son cœur j'ai
calmé la fièvre" (I've soothed the throbbing of her aching heart).
Wilhelm tells Lothario that they are in the Cipriani castle, which he
intends to buy for Mignon. At the name of the castle Lothario is
strangely agitated.
Wilhelm has heard Mignon utter his own name in her aberrations
during her illness. He sings, "Elle ne croyait pas" (She does not
know). When she enters the gallery from her sick-room and looks
out on the landscape, she is haunted by memories. There is a duet
for Mignon and Wilhelm, "Je suis heureuse, l'air m'enivre" (Now I
rejoice, life reawakens). Filina's voice is heard outside. The girl is
violently agitated. But Wilhelm reassures her.
In the scenes that follow, Lothario, his reason restored by being
again in familiar surroundings, recognizes in the place his own castle
and in Mignon his daughter, whose loss had unsettled his mind and
sent him, in minstrel's disguise, wandering in search of her. The
opera closes with a trio for Mignon, Wilhelm, and Lothario. In it is
heard the refrain of "Connais-tu le pays."

"Hamlet," the words by Barbier and Carré, based on Shakespeare's

tragedy, is another opera by Ambroise Thomas. It ranks high in
France, where it was produced at the Grand Opéra, March 9, 1868,
with Nilsson as Ophelia and Faure in the title rôle; but outside of
France it never secured any approach to the popularity that
"Mignon" at one time enjoyed. It was produced in London, in Italian,
as "Amleto," Covent Garden, June 19, 1869, with Nilsson and
Santley. In America, where it was produced in the Academy of
Music, March 22, 1872, with Nilsson, Cary, Brignoli, Barré, and
Jamet, it has met the fate of practically all operas in which the
principal character is a baritone—esteem from musicians, but
indifference on the part of the public. It was revived in 1892 for
Lasalle, and by the Chicago Opera Company for Ruffo.
The opera contains in Act I, a love duet for Hamlet and Ophelia, and
the scene between Hamlet and his father's Ghost; in Act II, the
scene with the players, with a drinking song for Hamlet; in Act III,
the soliloquy, "To be or not to be," and the scene between Hamlet
and the Queen; in Act IV, Ophelia's mad scene and suicide by
drowning; in Act V, the scene in the graveyard, with a totally
different ending to the opera from that to the play. Hamlet voices a
touching song to Ophelia's memory; then, stung by the Ghost's
reproachful look, stabs the King, as whose successor he is
proclaimed by the people.
Following is the distribution of voices: Hamlet, baritone; Claudius,
King of Denmark, bass; Laertes, Polonius's son, tenor; Ghost of the
dead King, bass; Polonius, bass; Gertrude, Queen of Denmark,
Hamlet's mother, mezzo-soprano; and Ophelia, Polonius's daughter,
soprano.

Ambroise Thomas was born at Metz, August 5, 1811; died at Paris,

February 12, 1896. He studied at the Paris Conservatory, where, in
1832, he won the grand prix de Rome. In 1871 he became director
of the Conservatory, being considered Auber's immediate successor,
although the post was held for a few days by the communist
Salvador Daniel, who was killed in battle, May 23d.
 Georges Bizet

CARMEN
Opera in four acts by Georges Bizet; words by Henri
Meilhac and Ludovic Halévy, founded on the novel by
Prosper Mérimée. Produced, Opéra Comique, Paris,
March 3, 1875, the title rôle being created by Galli-
Marié. Her Majesty's Theatre, London, in Italian, June
22, 1878; same theatre, February 5, 1879, in English;
same theatre, November 8, 1886, in French, with Galli-
Marié. Minnie Hauck, who created Carmen, in London,
also created the rôle in America, October 23, 1879, at
the Academy of Music, New York, with Campanini (Don
José), Del Puente (Escamillo), and Mme. Sinico
(Micaela). The first New Orleans Carmen, January 14,
1881, was Mme. Ambré. Calvé made her New York
début as Carmen at the Metropolitan Opera House,
December 20, 1893, with Jean de Reszke (Don José),
and Eames (Micaela). Bressler-Gianoli, and afterwards
Calvé, sang the rôle at the Manhattan Opera House.
Farrar made her first appearance as Carmen at the
Metropolitan Opera House, November 19, 1914.
Campanini, Jean de Reszke, and Caruso are the most
famous Don Josés who have appeared in this country;
but the rôle also has been admirably interpreted by
Saléza and Dalmorès. No singer has approached Emma
Eames as Micaela; nor has any interpreter of Escamillo
equalled Del Puente, who had the range and quality of
voice and buoyancy of action which the rôle requires.
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