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Musical Courier 1903-07-01: Vol 47 Iss 1214, 1903
12 lines. Read by computer on 22 September 2026. Printed page 10. See the scan on archive.org.
1PARIS JUNE 13, 1903.
3"LA PETITE MAISON," opéra comique in three acts, by Bisson and Docquois, music by William Chaumet.
5The last novelty to be produced this season at the second subventioned lyric theatre of Paris is a return to the style of work made popular by Auber, Hérold, Adam, Victor Masse, &c.—in short, the old fashioned opéra comique with spoken dialogue; a simple story that always ends happily, set to music—equally simple and gay. It was somewhat of a surprise to the audience, accustomed as it has been for some time at this house to the stormy and strenuous works called drame lyrique, to hear the performers stop singing and begin talking. In fact, the present work, although called opéra comique, is light enough in character to be styled operette, being much on the same lines as the clever "Cloches de Corneville." The composer of "La Petite Maison," William Chaumet, is a young musician who was the first to gain the Cressent prize, founded twenty years ago for the encouragement of dramatic music. M. Chaumet also gained the Rossini prize. He is known as the author of a great many songs, shorter orchestral pieces, piano sketches, &c., and for the lyric stage has written and had performed "Bathyle," at the Paris Opéra Comique, and "Hérode," a "dramatic poem," first given at the Conservatoire and ten years afterward given on the stage at the Grand Théâtre of Bordeaux. The music of "La Petite Maison" is very bright, piquant, charmingly orchestrated, and, if occasionally reminiscent, the similarity is more in the general style of certain passages than in a close copying of phrases. It has the merit of being always exactly suited to the situations, and, although these latter are principally confined to the gay or sentimental, there is never any monotony experienced, the music, both in melody, rhythm and harmony, varying sufficiently to avoid sameness. It is essentially gay without being trivial, and full of sentiment, which does not become mawkish. The piece is exceedingly well mounted and the performers are very capable, particularly from the standpoint of those in the audience, who, as Pierre Weber wittily remarks, prefer in "opéra comique the comic to the opera."
7At the same theatre last Monday evening I went to hear Verdi's "La Traviata" in its French dress. I say "dress" advisedly, as it is costumed in the line of the period at which the events of "La Dame aux Camélias"—the story on which the opera is founded—are supposed to have occurred. Olga Nethersole plays the drama of Dumas fils costumed in this manner, Duse and others in the dresses of the present day. "La Traviata," as given in its French translation, has at all events the merit of not having had the music tampered with, a statement which cannot be made of several of the more prominent Italian works, when done on the French stage. In "Il Trovatore," by the same composer, the strangest liberties are taken. The end of the cabaletta to Leonora's first air, "Tacea la notte," being entirely changed, the parts of Ferrando and Azucena are expanded in the soldiers' chorus of the third act and the "Deh! rallentate, o barbari," which follows. Donizetti's "Lucia" is so maltreated by the adapters to the French stage as to be barely recognizable. Certain characters, such as the confidante Alice, are suppressed and replaced by others. A mysterious personage, called in the French version Gilbert, a sort of male retainer, takes the place of the faithful Alice, into whose sympathetic ears the ill fated Lucy pours melodiously her woes. The air of the fountain is not given, its place being taken by the cavatina "Perche non ho del vento," originally written by Donizetti it is true, for the first production of the opera, but afterward replaced by the famous "Regnava nel silenzio," which he composed for the celebrated singer Persiani, the first Lucia. Luckily none of these unwarrantable liberties is taken with "La Traviata" as given in French, the names only of the characters being altered. Thus, Armand in the original play is Alfredo in the Italian opera, and Rodolphe on the French lyric stage, while Giorgio Germont, the baritone father, appears as Georges Dorbel. Violetta, the consumptive soprano, retains the same appellation in both versions. To anyone accustomed to the satins, laces and velvets of the Italian performance of "La Traviata" it is a genuine surprise to see the work as now given at the Opéra Comique, and I am not sure that it gains in effect by the change. As a play it is interestingly costumed thus, but opera is so essentially ideal that the same rules do not apply. If the lyric drama, or opera, call it what you will, is the form chosen by the poet and composer for the medium of interpretation to the public, then it seems to me that the nearer the scenes and characters, the localities and period approach the romantic and leave the real, the better and less incongruous will be the effect. In the present performance of "La Traviata" Miss Courtenay, the American soprano, who has just returned to the Opéra Comique after a successful season at New Orleans, La., met with an enthusiastic reception from an audience that quite filled the theatre. She looked charming in the old fashioned crinoline skirts of the first act, with the hair dressed in the bands of the period. In fact a reproduction of some of the Gavarni sketches of the time. Miss Courtenay's performance was marked by many excellencies and original details, both as actress and singer. Her share of the brindisi and the grand aria, "Ah forse è lui," made a great effect on the audience, which clamored for an encore of the latter. Her success was complete, and gained her several recalls after each act, with an ovation at the end, as if to testify the delight of the audience at seeing again in Paris the appearance of an established favorite. If the female characters in this production succeeded in making themselves very attractive in these dresses, which they wore so becomingly, the same cannot be said of the male interpreters. It was really a shock for anyone uninitiated to see the operatic Germont come on clothed in a long frock coat and a pair of trousers of an exceedingly large and wandering sort of pattern, the whole surmounted by a very tall silk hat with a flat brim. It was at that moment that I began to realize how unsuited the operatic form of drama was as an exponent of the actualities of daily existence. A singer would have to be a very distinguished vocalist indeed to carry off a costume like that without exciting the risibilities of the public, an accomplishment that this particular baritone Delvoye does not possess, as the "Pura siccome un angelo" and "Di Provenza" were sung so distressingly sharp as to be painful. The tenor Beyle, who possesses a good voice and some scenic instinct, made no effect in his first air, "Di Miei bollenti," as it was given with little nuance or shading. In fact the troupe at the Opéra Comique, as at present constituted, does not, one or two exceptions apart, shine as singers, no matter what ability they may possess as actors. The orchestra was excellent, and the violin solo, con sordino, before the last act beautifully played. I do not know who was the performer, but he met with a sincere recognition, as the audience would willingly have had it repeated had the conductor so chosen. The stage management also was most excellent, certain details being new to me, as, for instance, the suppression of those absurd tables in the first act, at which only a portion of the guests can be seated for the drinking song. This latter is the only motive for the tables being present, and they have subsequently to be removed, giving the idea that there is only the one room available in the apartment. Many other points, denoting care and ingenuity in the mise en scène are to be noticed, which is, as customary at this theatre, always in excellent taste, much skill and expediency in device being necessary on account of the exigency of the stage, which is rather small for opera.
9At the Opéra the stock répertoire, with the revivals of "La Statue," by Reyer, and "Henry VIII," by Saint-Saëns, are being given. In the first mentioned of these two operas the role of Margyane, sung by Madame Acté, has been given now to Mlle. Jane Hatto, and in the last one the part sung by Mlle. Bréval—indisposed—has been sung by Mlle. Grandjean. Mlle. Bréval is now reported better and retakes her role of Catherine of Arragon. Madame Acté also made her reappearance on Monday as Elsa in "Lohengrin."
11Although for several years there has been rumor of the establishment of a third subventioned theatre for opera in Paris, the project has not yet been realized. But it is quite certain that next season will see a very large theatre devoted to opera for at least three or four months. The brothers Isola, the present directors of the Gaité, have just announced this fact publicly. These managers, from a very small place on the boulevards, where modest performances were given years ago, have gradually acquired the Olympia, then the Folies Bergères, and are now managers of the Gaité Théâtre. This is a very large and commodious theatre in a busy part of Paris, where for a long time the performances have consisted of opérette, such as "Chimes of Normandy," "Girofle-Giroffa," &c., mounted on a large and elaborate scale, with grand ballet. I cannot tell what has influenced the directors to change the style of program at this house—some say it is because there are no more Offenbachs, Planquettes or Lecocqs composing opérette. After the present revival of "Girofle-Giroffa" terminates, which will be in a few days, extensive alterations are to be commenced, both in the front of the house and on the stage. On October 15 will begin the season of opera, which will last until the end of January. The performances will be under the gen-
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