In the case of Djamileh, the accusation of "Wagnerism" was raised again, as audiences struggled to understand the score's originality; many found the music pretentious and monotonous, lacking in both rhythm and melody.
No caso de Djamileh, a acusación de «wagnerianismo» xurdiu de novo, mentres a audiencia a duras penas chegaba a entender a orixinalidade da partitura; moitas encontraron a música pretenciosa e monótona, carente de ritmo e melodía.