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 spacious 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
_Opéra 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 _Opéra Comique_ of the _Théâtre Favart_
(formerly known by the name of _Théâtre 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 _Comédie
Italienne_, where French comic operas only were represented, was
still constituted as it was under the old _régime_, 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, SÉDAINE, MARMONTEL, HÈLE,[1] MONVEL,
MARSOLIER, HOFFMAN, and others. Their productions were set to music
by GRÉTRY, MONSIGNY, PHILIDOR, DÉSAÏDES, DALEYRAC, &c. These pieces
are now seldom played, the music of them being antiquated; though for
energy and truth of expression some of it surpasses that of many of
the more modern compositions. The new authors are little known. The
composers of the music are MÉHUL, DALEYRAC before-mentioned,
BOYELDIEU, TARCHI, &c. The modern pieces the most in vogue and most
attractive are _Le Prisonnier_, _l'Opéra Comique_, a piece so called,
_Le Calife de Bagdad_, _Maison à vendre_, _D'Auberge en Auberge_, and
a few others of the same description. All these are really pleasing
comedies.
The _Théâtre 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 _Opéra 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 lustre, or have not yet attained a
competent degree of perfection.
Seldom are the two companies mixed. Pieces in the style of the modern
_Opéra 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 _Comédie 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.
_Principal Characters and parts of Lovers._
Counter-Tenors.
ELLEVIOU, GAVAUDAN, PHILIPPE, and GAVEAUX.
ELLEVIOU. He is the first singer at the _Opéra 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 bass, 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 _Opéra 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 passion. 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 nobleness, 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_.
Bass-voices.
CHENARD, MARTIN, RÉZICOURT, 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 bass, but it is not very flexible.
In the part of _Monsieur de la France_, in _l'Épreuve 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 _début_ in 1783 at the _Théâtre 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 passages 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.
RÉZICOURT. 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 André_ and _Lubin_ of FAVART, as well
as in the parts of Valets.
_Mixed characters of every sort_.--Tenors.
SOLIÉ, and ST. AUBIN.
SOLIÉ. 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 _Opéra Comique_, happening to be taken
suddenly ill one night, SOLIÉ 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 MÉHUL 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, CRÉTU,
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 _Opéra
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 _naïveté_ characterise her acting. She has
scarcely any voice, but no other songs than romances or ballads are
assigned to her. She formerly played at the Grand French Opera, where
she was applauded in noble and impassioned 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'Opéra Comique_, which is the
title 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 nobleness of manner. Like almost all the performers
belonging to the _Opéra 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 _Médée_ 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 destitute of that
musical energy which distinguishes great singers. She plays _les
ingénuités_ 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 CRÉTU. 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 title of singers, especially the elder, who
begins to distinguish herself.
_Noble Mothers and Duennas_.
Mesdames DUGAZON, PHILIPPE, and GONTHIER.
Madame DUGAZON. Twenty years ago she enjoyed a great name, for which
she was indebted to the bad taste that then prevailed. With large
prominent eyes, and a broad flat nose, she could not be really
handsome; but she had a very animated countenance. In lyric _drames_,
she personated country-girls, chambermaids, and princesses. In the
first-named cast of parts, she had an ingenuous, open, but rustic
manner. She played chambermaids in a style bordering on effrontery.
Lastly, she represented princesses, but without any dignity, and also
women bereft of their reason. The part in which she had the most
vogue was that of _Nina_ in _La Folle par amour_. Her madness,
however, appeared not to be occasioned by the sensibility of her
heart. It was too much inclined to the sentimental cast of Sterne's
Maria.
Madame DUGAZON, who ought to have been in possession of a
considerable fortune, from the vast sums of money lavished on her by
Englishmen, is at this day reduced to perform the parts of mothers,
in which she acquits herself so as to deserve neither praise nor
censure.
Madame PHILIPPE. Under the name of DESFORGES, she shone formerly in
the part of _Marguerite_ in _Richard, coeur de lion_. Without being a
superior singer, she executes her songs with feeling.
Madame GONTHIER. This actress still enjoys the benefit of her former
reputation. She is excellent in a cast of parts become hacknied on
the stage; namely, gossips and nurses.
I have said nothing of the _doubles_ or duplicates of all these
ladies, as they are, in general, bad copies of the originals.
The choruses of the _Opéra Comique_ are not very numerous, and have
not the strength and correctness which distinguish those of the Grand
French Opera. Nor could this be expected. The orchestra has been
lately recomposed, and at present consists of a selection of
excellent performers. The scenery, decorations, and dresses are
deserving of commendation.
[Footnote 1: Or HALE, an Englishman, who wrote _Le Jugement de
Midas_, _l'Amant Jaloux_, and _Les Évenemens Imprevus_, pretty lyric
comedies, especially the last. Notwithstanding the success of his
pieces, this author is said to have died in the greatest distress.]
[Footnote 2: Not long since she set off for Russia, without apprizing
any one of her intention.]
[Footnote 3: The commissioner, appointed by the government to
superintend the proceedings of this theatre, has since been replaced
by a _Prefect of the Palace_, whose authority is much the same as
that exercised when each of the principal theatres in Paris was under
the inspection of a _Lord of the Bedchamber_.]