Paris as It Was and as It Is Part 53

This house, which is situated in the _Rue Feydeau_, near the _Rue de la Loi_, was opened for the first time in January 1791. The entrance to it is by a circular vestibule, externally decorated with caryatides, and sufficiently s.p.a.cious for one carriage to enter while another drives off by an adjoining outlet. At the end of this vestibule is a long gallery, bordered by shops on both sides, which forms a second entrance by the _Rue Filles St. Thomas_.

The interior form of this theatre is a semi-circle, extended in a right line at its extremities, which places the orchestra in a central position, and renders the house one of the fittest in Paris for a concert. Two rows of Gothic pillars, one above the other, occupy nearly all its height; and though it contains eight tiers of boxes, five only are in sight. The same distribution repeated in regard to the stage-boxes, presents a very projecting pavilion, which seems to support a large triumphal arch. However grand this style of architecture may be in appearance, in effect it renders the seats very inconvenient to two-thirds of the spectators. The ornaments consist of a strange mixture of the Greek, Gothic, and Oriental. The house is said to contain two thousand persons.

In the beginning, this theatre united the performers of the original _Opera Buffa_ and some of those belonging to the old French Comic Opera, who played alternately. The former retiring from Paris in 1792, the latter for some time attracted full houses by the excellence of their style of singing, tasteful decorations, and one of the best composed orchestras in the capital.

Since then, it has experienced the changes and vicissitudes attendant on the revolution. At present, the company is composed of a selection from the performers of the _Opera Comique_ of the _Theatre Favart_ (formerly known by the name of _Theatre Italien_), and those of the lyric theatre of which I am now speaking. This junction has not long been effected. Previously to its taking place, the _Comedie Italienne_, where French comic operas only were represented, was still const.i.tuted as it was under the old _regime_, of which it was remarked as being the sole remnant.

Formerly, the French Comic Opera was very rich in stock-pieces, chiefly written by FAVART, SeDAINE, MARMONTEL, HeLE,[1] MONVEL, MARSOLIER, HOFFMAN, and others. Their productions were set to music by GReTRY, MONSIGNY, PHILIDOR, DeSADES, DALEYRAC, &c. These pieces are now seldom played, the music of them being antiquated; though for energy and truth of expression some of it surpa.s.ses that of many of the more modern compositions. The new authors are little known. The composers of the music are MeHUL, DALEYRAC before-mentioned, BOYELDIEU, TARCHI, &c. The modern pieces the most in vogue and most attractive are _Le Prisonnier_, _l'Opera Comique_, a piece so called, _Le Calife de Bagdad_, _Maison a vendre_, _D'Auberge en Auberge_, and a few others of the same description. All these are really pleasing comedies.

The _Theatre Feydeau_ itself was also in possession of a great number of stock-pieces, among which were some in the style of the Grand French Opera. A considerable change seems to have taken place, as the latter are now no longer represented.

In surveying the _Opera Comique_, one would imagine that, in lieu of one company, two separate ones had been formed to play in the same theatre. The former is the weaker in number, but the stronger in talent. The latter, though weaker, has some good performers, in the long list of those of whom it is composed; but, in general, they are either no longer in their pristine l.u.s.tre, or have not yet attained a competent degree of perfection.

Seldom are the two companies mixed. Pieces in the style of the modern _Opera Comique_, in which easy mirth is replaced by quaint jests, are played exclusively by the former. They draw crowded houses, as the public are extremely partial to them. Lyric _drames_ are abandoned to the latter, and the old stock-pieces to such of the performers as choose to act in them for a small number of spectators who are so obliging as to enter the house with _orders_ or _free_ admission. OF all the repositories of old pieces that of the _Comedie Italienne_ is the one which is the most entirely neglected. This is rather the fault of the actors than that of the public. There are many old productions which would attract a crowd, were the best performers to play them; but who likes to pay for seeing a master-piece murdered?

--We now come to speak of the qualifications of these performers.

_Princ.i.p.al Characters and parts of Lovers._

Counter-Tenors.

ELLEVIOU, GAVAUDAN, PHILIPPE, and GAVEAUX.

ELLEVIOU. He is the first singer at the _Opera Comique_. Nor will this opinion be contradicted by any of the elegant and pretty women who, slaves to the custom of shewing themselves at the first representation of a new piece, never begin to applaud till ELLEVIOU makes his appearance.

This performer is, in fact, gifted with a handsome person, an easy manner, an expressive countenance, and a voice, which, when he modulates it, is charming. His delivery is tolerably good, and in some parts, he is not deficient in warmth and feeling. As a singer, ELLEVIOU leaves behind all those destined to second him. After having begun by singing ba.s.s, he has taken the parts of counter-tenor, for which, however, his voice is not suited, but he makes up for this deficiency by a very flexible tenor. He displays much art and a very modern taste. His method too is good; he makes no improper use of his facility by lavishing graces, but his manner is too uniform. This is the greatest objection that can be made to him, in the double capacity of singer and comedian.

GAVAUDAN. This young actor, with a well-proportioned stature and a very agreeable countenance, ranks, at the _Opera Comique_, next in merit to ELLEVIOU. His voice, as a counter-tenor, is not very brilliant, nor his means extensive; but his taste is good, and his method that of the modern school. As a player, he has a certain repution in lyric _drames_, and especially in those melancholy parts, the characteristic of which is a concentrated pa.s.sion. He imitates TALMA, and, like him, "outsteps the modesty of Nature."

PHILIPPE. His reputation was begun by the advantages of his person, and he consolidated it by his performance in the line of knight-errantry. _Richard, coeur de lion_, was the part which secured him the public favour. His voice is still an agreeable counter-tenor; but he declines through age. As an actor, he is deficient in n.o.bleness, and his gestures are not dignified; but, being used to the stage, and possessing some feeling, he often produces happy effects.

GAVEAUX. He has been a good singer in his youth, and is a very agreeable composer. He always acquits himself of any part he undertakes, if not in a brilliant manner, at least with credit. Two of his musical productions are stock-pieces, and well worth seeing.

_L'Amour Filial_ is a happy imitation of the Italian school, and _Sophie et Moncars_ is always heard with pleasure.

_Characters of Fathers, Valets, or Comic Parts_.

Ba.s.s-voices.

CHENARD, MARTIN, ReZICOURT, JULIET, and MOREAU.

CHENARD. Owing to an advantageous person, this actor once stood as high in the favour of the ladies as ELLEVIOU does at present. He still possesses a fine voice, as a ba.s.s, but it is not very flexible.

In the part of _Monsieur de la France_, in _l'epreuve Villageoise_, he established his fame as a singer; yet his style is not sufficiently modelled after the modern taste, which is the Italian.

As an actor, he is very useful; but, having always been treated by the public like a spoiled child, he is too apt to introduce his own sallies into his parts, which he sometimes charges with vulgarisms of the lowest description.

MARTIN. In the parts of valets, MARTIN cannot be better placed than near ELLEVIOU, whom he seconds with skill and taste. This has led the composers here to an innovation. Formerly, duets in the graceful style between men were seldom heard; but the voices of ELLEVIOU and MARTIN being perfectly adapted to each other, almost all the composers have written for them duets in which the _cantabile_ prevails, and concerted cadences are very conspicuous. This, I understand, is unprecedented in Paris.

MARTIN made his _debut_ in 1783 at the _Theatre de Monsieur_ in the company of Italian buffoons. In this school he acquired that taste which he has since propagated with zeal, if not with success. At the present day, he is accused of loading his singing with superfluous embellishments, or of placing them without judgment in pa.s.sages or situations where they are ill-suited. However, in _morceaux d'ensemble_ he is quite at home, and, of course, shews himself to great advantage. As an actor, he is by no means remarkable, though he sometimes displays intelligence.

ReZICOURT. He may justly be called a good comedian, without examining his merits as a singer.

JULIET. In the newspapers, this performer is called _inimitable_. His manner is his own; yet, perhaps, it would be very dangerous to advise any one to imitate it. He is not deficient in intelligence, and has the habit of the stage; but his first quality is to be extremely natural, particularly in the parts of Peasants, which he performs with much truth. He seems to be born a player, and though he is not a musician, he always sings in tune and in time.

MOREAU. An agreeable person, open countenance, animation, an ingenuous manner, and an unerring memory. He is very well placed in young Peasants, such as _Le Bon Andre_ and _Lubin_ of FAVART, as well as in the parts of Valets.

_Mixed characters of every sort_.--Tenors.

SOLIe, and ST. AUBIN.

SOLIe. He first appeared in the parts of young lovers with a tall stature and a handsome face, but neither of them being fashioned for such characters, he met with no applause. His voice was not very brilliant, but his method of singing was replete with grace and taste. For this, however, he obtained no credit; the Parisian public not being yet accustomed to the modern or Italian style. CLAIRVAL, the first singer at the old _Opera Comique_, happening to be taken suddenly ill one night, SOLIe undertook his part at a moment's warning. Success crowned his temerity, and from that moment his merit was appreciated. His best character is _Micheli_ in _Les deux Savoyards_, in which he established his reputation. In the pieces of which MeHUL has composed the music, he shines by the finished manner in which he executes it; the _cantabile_ is his fort. As an actor, his declamation is not natural, and his deportment is too much that of a mannerist. However, these defects are compensated by his singing. To the music of others, he does every justice, and that which he composes himself is extremely agreeable.

ST. AUBIN. This performer once had a good voice as a counter-tenor; but as he now plays no other than secondary parts, one might imagine that he is retained at the theatre only in consideration of his wife's talents.

_Caricatures and Simpletons_.

DOZAINVILLE, and LESAGE.

DOZAINVILLE. The person of this actor is very favourable for caricatures and the characters of simpletons, which he fills. The meagreness of his countenance renders it very flexible; but not unfrequently he carries this flexibility to grimace. As a singer, he must not be mentioned.

LESAGE. He is a musician, but has little voice. He performs the parts of simple peasants in a natural manner, but with too much uniformity.

This is is a general defect attached to those characters.--Let me next introduce the female performers.

_First female Singers and Parts of Lovers_.

Mesdames ST. AUBIN, SCIO, LESAGE, CReTU, PHILIS the elder, GAVAUDAN, and PINGENET.

Madame ST. AUBIN. She is a capital actress, though chiefly in the parts of young girls; yet she is the main pillar of the _Opera Comique_. She never has been handsome, at least when closely viewed, and is now on the wane, being turned of forty-five; but her graceful little figure and delicate features make her appear pretty on the stage. Neatness and _navete_ characterise her acting. She has scarcely any voice, but no other songs than romances or ballads are a.s.signed to her. She formerly played at the Grand French Opera, where she was applauded in n.o.ble and impa.s.sioned parts, though they are not, in general, suited to her manner. But an actress, high in favour with the public, is always applauded in whatever character she appears. The pieces in which Madame ST. AUBIN excels are _Le Prisonnier, Adolphe et Clara_, and _L'Opera Comique_, which is the t.i.tle of a piece, as I have already mentioned.

Madame SCIO. Although she is said not to be well versed in music, she has a very extensive and powerful voice, but its tones have little variety. As an actress, she is very indifferent. Without being mean, she has no n.o.bleness of manner. Like almost all the performers belonging to the _Opera Comique_, she delivers ill the dialogue, or such sentences as are not set to music. As she frequently strains her acting, persons deficient in taste are pleased to bestow on her the epithet of _great_ as an actress. However, she played _Medee_ in a lyric tragedy of that name; but such a Medea was never seen! As a singer, Madame Scio is a valuable acquisition to this theatre. In point of person, she is neither ordinary nor handsome.

Mademoiselle LESAGE. Her singing is chaste, but dest.i.tute of that musical energy which distinguishes great singers. She plays _les ingenuites_ or innocent characters; but is rather a mannerist, instead of being childish. She then employs a false voice, not at all suited to this line of acting, in which every thing should be natural.

Madame CReTU. This actress came to Paris from Bourdeaux, preceded by a great reputation. She has been handsome: a clear voice, a good method of singing, a becoming manner of acting, insured her success.

She is very useful at this theatre, in pieces where the _vis comica_ does not predominate.

Mademoiselle PHILIS the elder. This is a pretty pupil of the famous GARAT. She has a clear pipe, a charming countenance, a quick eye, an agreeable person, and some taste. She possesses as much merit as an actress as a singer.[2]

Madame GAVAUDAN. She is admired for her pretty person, pretty voice, and pretty carriage. No wonder then that she has greatly contributed to the success of the little pieces in the style of _Vaudeville_, which have been performed at this theatre.

Mesdemoiselles PINGENET. These two sisters are nothing as actresses; but seem to aspire to the t.i.tle of singers, especially the elder, who begins to distinguish herself.

_n.o.ble Mothers and Duennas_.

Mesdames DUGAZON, PHILIPPE, and GONTHIER.