Scan 6
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
96 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
1by calls to Versailles; the picturesque company was scattered forever from under the Watteau groves.
3Les deux Petits Savoyards, by D'Alayrac, a composer who figured extensively through all the troubled times, was the first piece played in the Opéra Comique in 1789. It retained popularity for over forty years.
5It was the custom at this time that where a piece did not please the author was not called out, a signification that his name was to remain unknown.
7On June 4 the first tap came at the door of tranquility, in an order to close doors on account of the death of the Dauphin. The grumble was more definite on the 12th, however, when about an hour before the opening of the doors, a small sulky mob was seen moving about the town, tearing down the theatre notices and announcing that they did not propose that the grandees should have any more plays.
9A few minutes before the rising of the curtain a few of them actually walked into the Opéra Comique, deliberately asking those who were seated to leave and not to return till they were invited, which was done in short order. It was nine days before the doors were reopened.
11Within that time the half page of all the city papers devoted to amusement programs lay blank, for the pulse of the nation stood still. The Bastille had fallen, and the corpse of the feudal régime lay buried in its ruins.
13As usual after trouble, the receipts of the first opening were donated to sufferers by the crisis. Among the items of box receipts were sums from the king and queen and M. le Duc de Richelieu. The following weeks were punctuated by charity performances.
15I cannot pass by here without pausing to accent this most touching feature of all French history—namely, the immense spirit of benevolence in the people. In their greatest penury, as in their joy and prosperity, the big half of every crust was divided with other poor. Not only that; but did a helpless enemy lie among the unfortunate it was shared with him as well. To-day the charity of Assistance publique goes side by side with justice to "compositeurs et auteurs" in the law of amusement dividends. Another "off day" followed on the return of the royal party from Versailles to live in Paris, "deeming it wise to follow the wishes of the people." In the carnival of joy, reception, acclamation, and general French hurrah, ticket money was returned to the two men and one woman who strayed into the playhouse at the usual hour.
17An excellent work was done by the Opéra Comique at this epoch, in several representations given to aid in the establishment of the Blind Asylum, since become such a powerful philanthropy in the quarter of Les Invalides, Paris. What between charity and politics, before the end of this preface year a rumor floated that the theatre was deeply embarrassed and would probably have to close its doors.
19The brave little music ship righted itself before the new morning, however, and Grétry's Pierre le Grand was the brilliant installation success of the new year.
21The Opéra was not very gentle with its young sister in these early times. It had been accustomed to play musical Grand Mogul in the city. Many little bites were given the growing lesser power; among them an annual contribution, and an interdiction against playing a certain form of arietta then popular. The king seeing fit to relieve the Opéra Comique from these wholly unjust exactions, a great hubbub was raised; and who knows how much this small seethe, just at this critical epoch, had to do with the disturbing of the waters that were so black and terrible underneath?
23Many interesting works succeeded each other with marvelous rapidity. Dramatic interest and study deepened, composers were busy, audiences amused and happy, and everything seemed in a fair way to art tranquility and progress.
25But it was only the tranquility of a fly on the hide of a nervous horse. The sensitive felt that the air was not right. Those with eyes in their minds saw the handwriting of fate on the very walls of the city. The very titles of the theatre announcements posted about the place traced the undercurrent of "sedition, privy conspiracy, and rebellion," and marked the steady mount of the spirit that was anti-contented, anti-religious, anti-political—just as it is marked over the face of the universe to-day. A pot of water over a fire must boil. Cause must have effect.
27It was the custom at this time, at the close of the season preceding Easter vacation, for one of the popular actors to address the audiences, making them en rapport with the efforts of the management for their pleasure and comfort during the coming season; a little complimentary John Drew-y sort of a speech, meant to put the people in good humor, and bring them back happy at the following opening time.
29What was the astonishment, however, when the actor Solié, whose duty this was, happening to be a man charged with sparks of the new thought, instead of platitudes, burst into an electric polemic on the subject of free thought, free life, freedom from oppression and the glories of liberty. He thought he was only aiming at the opera house over the way, but a greater force than his intention had put within him that which he was speaking. It was a clarion call to human liberty.
31"And the Spirit was moving on the face of the waters." Once more things jogged on with the appearance of calm, and the next "event" was a musical one. The grand Mélusine made his début in the theatre in the five act lyric drama Euphrosine et Coradin, a success so great as to form a sort of revolution in the existing musical condition of things. After this many worthy and interesting novelties led music art up to the close of 1790.
33An uncomfortable fact for the management, however, was that the receipts were far below those of the past year, although activity and interest were both augmented. (Twenty-three new works in forty-six acts had been given during the year.)
35But aristocracy prosperity was troubled. Not only non-attendance but non-payments of the "nobles and gentlemen of the chamber" helped visibly to reduce the dividend averages. "And the evening and the morning were the second day."
37(To be continued.)
39Armide was made the subject of thirty-two Italian operas, the names of eight of the composers ending in i. Those of Gluck and Lully are the two immortals, the latter having had seventy-eight years' place in the repertory, with eight reproductions.
41M. Larroumet, the artistic professor of the Sorbonne, has written a book on the relation of the state to art, and calls loudly for a new Théâtre Lyrique, under Government patronage, for the production of national writing. The Opéra, he says, can live and grow fat on Wagner alone, so what does it want of a French subvention? He seems justified in his remark.
43The first performance of Fredigonde at the Opéra will be given about the second week in December. M. Saint-Saëns leaves immediately after for Milan, to direct the production of Henry VIII. The winter will probably be spent in Naples. Meantime he is living in the apartment directly under that of the Eddys, in Paris.
45A story writer with more invention than tact had the hardihood to publish in one of the city papers recently a fable purporting to describe the efforts of the French composer to escape the human throng and find a permanent solitude. Leaving the name of Saint-Saëns in naked severity among a number of fictionized personages, the composer was obliged to issue a card disclaiming part in the rather extraordinary adventures narrated.
47A new quartet society has come into existence in the classic Passy quarter of Paris. A series of ten concerts commences at once.
49M. Theo. Dubois is reposing after abnormal efforts necessary to the successful launching of his new play, Xavier. The plot, laid in the wild Cévennes district of France, has already been given. The story is being published in brochure.
51News comes from Mme. Berthe Marx Goldschmidt, from Edinburgh; also from Miss Pauline Joran, from Milan, where she has been singing Santuzza and Nedda. Italian papers speak well of her work.
53M. Henri Falcke, the pianist, has played with great success in Basle and Zurich, and leaves for Berlin this week for engagements in Germany.
55Mme. Norcröss, of whom much has been written lately as a beautiful American making success in Holland, was for two years previous a pupil of Mme. Renée Richard, studying with her the repertory Favorite, Carmen, Samson et Dalila, Prophète, Aïda, &c., with mise en scène complete. She has written expressing her warm gratitude to her teacher.
57Miss Jane Horwitz has signed an engagement with the Bordeaux Theatre. The Sherwoods leave Paris to-day for London, whence they sail for America on December 7. Mr. Sherwood played for Saint-Saëns, who gave him his photograph. He was invited to play at M. Breitner's Philharmonic concerts and is engaged by M. Le Roy for a Continental and European tournée next season.
59Nikita left Paris this morning for England, where she has been engaged to give fifteen concerts in Great Britain, by Patti's manager. She later sings in Germany, Austria and Holland.
61M. Beer, the teacher of Miss Clara Hunt, of the Abbey & Grau company, has had another pupil engaged at the Opéra here, and a charming little Polish girl with a birdlike voice, that leaves no question whatever as to its beauty in the minds of any hearer, Mlle. Vaneska, at the Opéra Comique. one of two readings
62M. Beer, the teacher of Miss Clara Hunt, of the Abbey & Grau company, has had another pupil engaged at the Opéra here, and a charming little Polish girl with a bird-like voice, that leaves no question whatever as to its beauty in the minds of any hearer, Mlle. Vaneska, at the Opéra Comique. one of two readings
64Mme. Beer, by the way, is daughter of the well-known artist organ manufacturer, M. Alesandre, who has done so much for that order of instrument in France. She is an accomplished musician, playing organ and piano admirably. Mme. Alesandre, a noble and interesting lady of the old French school, lives with another daughter, also an accomplished woman, at Auteuil.
66News of ambition, interest and progress comes from Miss Lily Berg, of New York, who meditates an extended European visit next season.
68A statue of Washington and Lafayette, given to this city by Mr. Joseph Pulitzer, was inaugurated on the Place des Etats Unis Sunday. Another Franco-American link. Good! The home of the charming singer, Miss Emma Eames-Story, is not a stone's throw away, under the trees of the place, from the statue.
70Adelaide Ristori, the actress, who in private life is the Marquise Capranica del Grillo, gave a grand dinner yesterday.
72One of the saddest funerals on record was that of M. Alexandre Dumas. Whatever one may do in life one dare not disrespect the conventionalities in death in Paris. One thoughtful hand gathered a few flowers from his grave after the ceremony, and laid them upon the tomb of Marie Duplessis, the creator of La Dame aux Camélias.
74Tannhäuser, which has not been played in Brussels in thirty years, will be given in January. Ghiselle, a posthumous work by César Franck, will be given at Monte Carlo this year, Mr. Gunsbourg has signed the quadrangle contract between the French heirs, M. Thierry, author of the words, M. Choudens, publisher of the music, and his own enterprising self.
76The Ninth Symphony at the Colonne concert Sunday!
78FANNIE EDGAR THOMAS.
80St. Petersburg.—The projected operatic performances under the direction of Pollini at the Imperial Theatre, St. Petersburg, have been abandoned, the cause assigned being the lack of subscriptions necessary to meet Pollini's exorbitant terms.
82Moscow.—P. A. Schostakowski, the founder and director of the Moscow Philharmonic Society has renounced his right to conduct at the ten subscription concerts of the coming season in favor of a whole string of other directors. At the first of these concerts the attractions were Conductor A. N. Winogradski, of Kiew, and Marcella Sembrich.
84International Bureau of Music,
85112 East 18th St., New York.
86All Artists, vocal and instrumental, can be engaged through this office.
87SEND FOR ARTIST LIST.
89Eichberg Ladies' String Quartet.
90MISS LILLIAN SHATTUCK, Violin.
91MISS IDALIAN HOWARD, Violin.
92MISS JENNIE DANIELL, Viola.
93MISS LAURA WEBSTER, Violoncello.
94For Concerts and Musicales address
95Pierce Building, Copley Square, BOSTON, Mass.
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