Long before re-invention or change management became buzzwords, Massenet was a master of these practices; whether this reflects versatility and enthusiasm for experiments or a cynical measurement of the market (or something in between) will never be fully determined. In 1890, Pietro Mascagni burst onto the operatic scene with his short verismo masterpiece Cavalleria rusticana; this was followed in 1892 by Leoncavallo and his Pagliacci. Massenet responded with this piece, equally brief and with much the same structure, two segments separated by a lyrical intermezzo. Like the younger composers' works, La Navarraise, too, included elements of folk music, was set in roughly contemporary times, and shows disaster striking ordinary people. George Bernard Shaw went so far as to say that Massenet had "made up a prescription" rather than actually write an opera; other critics promptly nicknamed it "Cavalleria española."

That acknowledged, if the work is not a great one, it is an effective one. Moments of wistful lyrical tenderness, such as the love duet and Araquil's plaintive arioso are aptly juxtaposed against not only the violence of the Carlist Wars (complete with gunshots and other military effects) and the proud and ambitious father, but the world- and battle-weary cynicism of the soldiers. The brevity of the work on the one hand makes these juxtapositions all the more striking, but on the other hand, does create something of an "everything but the kitchen sink" atmosphere; so much is compacted into so little time.

The title role was written for Emma Calve, which probably contributed to its early popular success. Massenet returned once again to the short verismo genre in 1907 with Therese; neither work remained in the stage repertoire for long, though both have been recorded at different times.

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