The theatres, present state of the drama, and principal performers.
Collections of paintings.
It is rather extraordinary that in this age of superlative refinement,
the drama should rather be upon the decline than otherwise in regard to
the talent of the performers, but it appears to me that such is really
the case both in England and France. I can just remember when Mrs.
Siddons, John Kemble, Charles Kemble, Young, Mrs. Jordan, Irish Johnson,
Munden, Emery, etc. so well sustained the character of the English
stage. Alas! shall I ever see the like again? Theatrical representations
in France have had a similar decline, although _two_ stars there are who
uphold her histrionic fame with superior _éclat_, Mlle. Rachel for
tragedy, and Bouffé for comedy; it would be useless for me to attempt
any description of the powers of the former, as she is as well known in
London as in Paris, but with the latter my readers I believe are only
partially acquainted; he has been in London, but I rather think only
made but a short stay, certainly a more perfect representation of French
nature it would be impossible to imagine; even although he undertake
ever so opposite a description of character, the simple truth would be
given in them all; he has not recourse to grimace or buffoonery, or any
exaggerated action, but seems not to remember he is counterfeiting a
part, but appears to make the case his own, and not to have another
thought than that which must be supposed to occupy the mind of the
individual he is personifying. Pleased with Bouffé to our heart's full
content, we look around amongst all the range of actors to find some
approach to his inimitable talent, not being so unreasonable as to hope
to discover his equal, but our search ends in disappointment, we seek in
vain for the representatives of Perlet, Odry, Laporte, and Potier, to
whose comic powers we are indebted for many a laughing hour, but they
are now replaced, as well as many other of our old acquaintances, by
substitutes who are but sorry apologies for those we have lost; however,
although the French theatre has certainly retrograded in respect to its
dramatics personæ, it has gained surprisingly with regard to scenery,
decorations, and costumes, which very considerably enhance the interest
of a theatrical performance, particularly when it is historical, and it
is a satisfaction to know that no pains are spared to render the drapery
as exact as possible to that worn at the period the piece is intended to
represent; thus you have the most accurate peep into olden times that
can possibly be afforded, and Paris offers such extreme facilities for
ascertaining what description of dress was adopted at any particular
age, by means of their immense collection of engravings, and written
descriptions, contained in their old books, and manuscripts, which are
freely produced to any individual on making the proper application. Of
these advantages the managers of the theatres avail themselves to the
utmost extent, which enables them to be extremely correct, not only with
regard to the habiliments, but also the scenery, and all the
_accessoires_ are rendered strictly in keeping with the century in which
the events recorded have occurred.
The Italian Opera in Paris is considered to be managed with great
perfection, the company is much the same with regard to the principal
singers as our own, consisting of Grisi, Persiani, Albertazzi, Lablache,
Tamburini, Rubini, Mario, etc., as they can be obtained, according to
their engagements in London or elsewhere, and the operas performed are
also similar, therefore any description of either would be superfluous;
altogether, the enjoyment afforded is not so great as at our own, as no
ballet is given, and the coup-d'oeil is not so splendid as in ours.
The Theatre de la Renaissance is devoted to the performance of the
Italian Opera, it is situated in the middle of a small square, opposite
the Rue Méhul, which turns out of the Rue Neuve des Petits Champs, from
which it is seen to the best advantage; the façade has a handsome
appearance, with the statues of Apollo and the nine Muses, supported by
doric and ionic columns. The prices of the places are from ten francs to
two francs, which last is the amphitheatre; the intermediate charges are
seven francs ten sous, six francs, five, four and three francs ten sous
the pit, and it is capable of containing 2,000 persons. The performance
begins at eight.
The French Opera, or Académie Royale de Musique, in the Rue Pelletier,
near the Boulevard des Italiens, has nothing very striking in its
external appearance, but the arrangements and decorations of the
interior are certainly extremely handsome, and everything is conducted
on a most superior scale; the scenery and costumes are here in
perfection, the arrangements and accommodations for seats are excellent.
The great strength of the vocal performance consists in Duprez and
Madame Dorus Gras, to whom I have before alluded, and whose reputation
is too well established to need any comment. They are ably seconded by
Levasseur, Madame Stolz who is well known in London, and the fine deep
voice of Baroilhet, Boucher, Massol, and Mademoiselle Nau, possess a
moderate share of talent, there are also others whose abilities are of
minor force but sufficient to support the subordinate _rôles_. The
orchestra and chorusses are extremely good and numerously composed, and
on the whole it may be considered that they get up an opera in a very
superior manner. The ballet at this theatre was formerly the greatest
treat that could be imagined, derivable from performances of that
nature, but at the present period the strength they possess in that
department is by no means efficient. Carlotta Grisi stands alone as
having with youth any degree of talent above mediocrity; the same can
hardly be said of Mademoiselle Fitzjames, and Madame Dupont; Noblet is
past that age which is indispensable in exciting interest as a dancer,
notwithstanding she has still considerable ability, and there are not
any others who are worth mentioning amongst the females. Of the men,
when Petitpa is cited as having a grade more of ability than the rest,
nothing more in the shape of praise can be added with respect to their
present _corps de ballet_. This theatre is also capable of containing
2,000 persons, and the prices are from 2 francs 10 sous to 9 francs, the
pit is 3 francs 12 sous, and there are as many as 20 different parts of
the house cited with their respective charges. They sometimes begin at
7, more often 1/2 past, but never later.
The Theatre of the Comic Opera is situated in the rue Marivaux,
Boulevard des Italiens, and the façade with its noble columns has a very
fine effect, which is fully equalled by the decorations of the interior.
Chollet, still remains their principal singer; his voice is good, so is
his knowledge of music, but he is now no longer young nor ever was
handsome, but always a favourite with the public; he is supported by
Roger who takes the _rôles_ of young lovers, by Grard who has a fine
bass voice, and Mocker with a good tenor; amongst the females is our
countrywoman Anna Thillon, who is exceedingly admired, and at present
the great attraction, she is pretty, lively, or sentimental, as her part
may require, her voice is pleasing and it may be said that she is quite
a pet with the Parisians; she is an excellent actress, and appears at
home in every part she undertakes. Mademoiselle Prevost has for many
years sustained a certain reputation as one of the principal singers at
this theatre, for my own part I always thought her rather heavy and a
want of feeling and expression both in her acting and singing. Madame
Rossi Caccia, although only just returned from Italy, belongs to the
company, she has a most admirable voice and is a great acquisition to
the theatre, at which, on the whole, the amusements are of the most
delightful description. The prices are from 30 sous to 7 francs 10 sous.
They begin at 7.
The Théâtre-Français in the Rue Richelieu holds the first rank, for the
drama, of any theatre in France, where Talma, Duchesnois, Mars and
Georges have so often enchanted not only the French public, but persons
of all nations who were assembled in Paris, and on these boards Mlle
Rachel now displays her magic art; nor are the attractions of Mlle
Plessis to be passed over unnoticed, but as she has lately been to
London, my country people can form a better judgment of her than from
any description I can give. Mlle Anaïs is an actress who has been and is
still rather a favourite, although now not young. Mlle Mantes is a fine
woman upon a large scale, plays well and has been many years on the
stage, but never created any sensation; Mlle Maxime rather stands high
in the public estimation; Mlle Noblet and Mme Guyon possess moderate
talent acquit themselves well, and are much liked, generally speaking.
At present Ligier is considered their best tragedian, but principally
owes what fame he has, to their actors in that department being of so
mediocre a description, some people prefer Beauvallet but not the
majority, their abilities are very nearly of the same stamp. Guyon is a
fine young man, and plays the parts of young heroes very fairly. Geffroy
is another, possessing sufficient merit to escape condemnation. As comic
actors they have Regnier who may be placed upon the moderate list;
Samson is certainly much better, and in fact by no means destitute of
talent, which may decidedly be also stated of Firmin; Provost is
likewise a very passable actor. Comedy is indeed their fort, it is far
more pure than ours; I remember making that remark to the celebrated
John Kemble at the time he was residing at Toulouse, and adding that I
considered our comic actors gave way too much to grimace and buffoonery.
Kemble replied, "Don't blame the actors for that, it is owing to the bad
taste of the audience, by whom it is always applauded, and a thoroughly
chaste performance, without some caricature, would not stand the same
chance of success." The prices at the Théâtre Français are from 1 fr. 5
sous varying up to 6 fr. 12 sous, according to that part of the house in
which you choose your seat; they begin sometimes 1/4 before 7.
The Theatre du Gymnase, on the Boulevart Bonne-Nouvelle, was once one of
the most successful of any in Paris, but it does not sustain the high
reputation it formerly possessed. Bouffé is now its principal support,
and has indeed a most attractive power; there are also other actors of
merit, as Klein, Numa, Tisserant, and Volnys, who sustain their
respective parts extremely well; but when performing with such a star
as Bouffé, their minor talents are eclipsed, and little noticed. Mad.
Volnys (formerly Leontine Fay) still retains that high reputation which
she has so long and so justly merited, she ever was a most charming and
natural actress. Mesdames Julienne, Habeneck and Nathalie are all rather
above mediocrity, so that this theatre still affords the dramatic
amateur much rational enjoyment. They commence at 6, and the prices
range from 1 fr. 5 sous, to 5 fr.
The Théâtre des Variétés always has been and is still a great favourite,
where they play vaudevilles, a sort of light comedy, which are generally
highly amusing; they have always contrived to have actors at this
theatre who were sure to draw full houses, and that is the case at
present. Lafont is an excellent actor and a very fine looking man, he
has performed in London; Lepeintre yields to few men for the very
general estimation in which his talents are held; Levassor is a man of
very gentlemanly appearance, not at all wanting in assurance, and always
at his ease in every _rôle_ he is destined to fill. For females they
have Mesdames Flore, Bressant, Boisgontier, Esther and Eugenie Sauvage,
the first rather too much inclined to embonpoint, but playing her part
none the worse for that, the last an actress of great merit, whilst the
others act so well that one would wonder what they wanted with so many;
besides which they have several others who are above mediocrity, and a
few hours may be passed any evening most agreeably at this theatre. The
performances commence at 7, the prices are the same as at the Gymnase
with regard to the minimum and maximum, but having altogether nineteen
different intermediate specifications.
The Theatre du Palais-Royal, forming the corner of the Rues Montpensier
and Beaujolais, and having an entrance in the Palais-Royal, is one of
the most successful in Paris, and one of the very few which have proved
good speculations, and they continue to have such excellent actors as
cannot fail to attract. A. Tousez has much ability and is very comic, M.
and Mad. Lemesnil, M. and Mad. Ravel are very clever in their respective
parts, Sainville is not less so; then amongst their first rate actresses
they have Dejazet, who has been highly appreciated in London, Mlle
Pernon, young, talented, and pretty, and Mlle Fargueil, handsome, and
though youthful, already an excellent actress. The pit is only 1 fr. 5
sous, from which it rises to 5 fr. for the best seats. They begin at
half-past six.
The Vaudeville Theatre is facing the Exchange in the Place de la Bourse,
and retains a very good share of the patronage of the public; their
performances are, for the most part, very good, and the pieces which are
mostly played, are such as the name of the theatre indicates. Félix and
Lepeintre jeune are much liked, Bardou is an excellent actor, Arnal a
famous low comedian, M. and Mad. Taigny possessing very fair talent, and
are called the pretty couple. Mesdames Doche and Thénard not without
merit, and on the whole their corps dramatic is much above mediocrity.
Their light, comic, and amusing little pieces are well calculated to
chase away a heavy hour. They commence at a quarter past seven, and the
prices are much the same as at the Variété.
To the Porte St. Martin I have already alluded, situated on the
Boulevart of the same name, although they often give very interesting
pieces as melodramas, light comedies, etc., and always had some very
good actors, yet it has seldom had the success to which the exertions of
the proprietors were entitled. After a total failure the theatre has
been re-opened, and amongst the actors there are some of known talent;
Frederick Lemaitre may be considered their brightest star, once so
celebrated in the rôle of Robert Macaire, Clarence, Raucour, Bocage, and
Melingue sustain their parts very fairly, and the same may be said of
Mesdames Klotz and Fitzjames, who are more than passable actresses. The
pieces begin as low as twelve sous, and rise to six francs. The
performances commence at seven.
The Ambigu Comique is a theatre situated on the Boulevart St. Martin,
and also for melodramas and vaudevilles; it has not been much more
fortunate than its neighbour the Theatre Porte St. Martin, and the
representations are very similar at both. St. Ernest, as an actor, and
Madame Boutin, as an actress, appear to be the favourites amongst rather
a numerous company, of which some are far from being indifferent
performers. The prices are very modest, commencing at only ten sous, and
elevating to four francs; it begins at seven.
The Gaieté, on the Boulevart du Temple, is another theatre of much the
same description; at present, however, the company is considered to be
very good: the strength consisting of Neuville, the brothers Francisque
and Deshays, and of the females, Madame Gautier, Clarisse, Leontine,
Abit, and Melanie are considered the best. Some pieces have come out at
this theatre that have had a great run. The prices begin at eight sous
and rise to five francs. They also commence at seven.
The Theatre des Folies Dramatiques is likewise on the Boulevart du
Temple, and varies very slightly from the last, except being one grade
inferior, and the prices in proportion, commencing at six sous, and not
mounting higher than two francs five sous, and yet the performances are
often not by any means contemptible. They begin at half-past six.
M. Comte has a theatre in the Passage Choiseul where children perform,
which may be considered as a sort of nursery for the theatres in
general; but what afford the most amusement are his extraordinary feats
of legerdemain, which are certainly wonderfully clever. The prices are
from about one franc to five francs.
Although I have left it to the last, I must not entirely omit to mention
the Odéon theatre, to which I have already adverted; little can be
judged from it at present, having only just re-opened. Mlle. George is
endeavouring, in the eve of her days, to afford it the support of her
now declining powers; she is however ably sustained by Achard. Vernet
also is a good actor, and they have others who are by no means
deficient. It begins at 7, and the prices are from 1 franc to 5.
In addition to those I have already stated, there are about a dozen more
theatres, inducting such as are just outside the Barriers, and although
theatrical speculations have generally been very unfortunate recently,
yet it does not appear to arise so much from the want of audiences, but
from paying the great performers too highly, and having too many of all
descriptions. There are besides several public concerts, of which the
one styled Muzard's, in the Rue Neuve-Vivienne, is the best; the price
of entrance to most of them is 1 franc. Several public balls are
constantly going forward in gardens during the summer, and in large
saloons in the winter; they are mostly attended by the lower order of
tradespeople, or by females of indifferent character, except in the
Carnival, and then more respectable characters go to the masked balls at
the theatres which are the most expensive; the ladies however only as
spectators, generally speaking, but their attractions are too
irresistible to many, for them to suffer the season to pass over without
once joining the gay throng, particularly to some who have a great
delight in mystifying a friend or acquaintance, and telling them a few
home truths under the protecting shield of a mask, having opportunities
of so doing at the public balls without fear of being recognised;
whereas concealment at private masquerades can seldom be preserved to
the last. It is most usual for ladies who visit the theatres to see the
masked balls only to remain in a box with their party, and from thence
to view the motley group; there are however some females even of rank
who cannot resist the charm of going entirely incognito, to puzzle and
perplex different persons whom they know will be there, only confiding
to one or two dearest friends their little enterprise, to whom they
recount the adventures of the evening.
All strangers sojourning at Paris are generally directed to devote their
earliest attention to the Gallery of Pictures at the Louvre, and I had
intended to have bestowed much space to that object, but I find such
excellent works published on that subject at only one or two francs,
that I would recommend my readers to furnish themselves with one and
take it with them to the Louvre when they go there; they can procure
them of M. Amyot, No. 6, Rue de la Paix, where they will also find
almost every publication they are likely to require, and will meet with
the utmost civility and attention. There are continually changes taking
place in the arrangements of the pictures, consequently it would be
impossible to give any correct numerical indications. The works of
Rubens are particularly numerous, but I should not say they were the
_chefs d'oeuvre_ of that great artist, the women are so fat and
totally devoid of grace; I have seen several of his pictures in the
great Collection at Vienna which I like much better. The Louvre may be
also considered rich in the works of Titian, some fine subjects by
Guido, Murillo, Correggio, and Paul Veronese, of which the Marriage in
Cana is supposed to be the largest detached picture in the world; and
many of the figures are portraits, as of Francis I, Mary of England,
etc., who were contemporaries with the artist; in fact there are some
paintings of almost every celebrated Italian and Spanish master. The
Dutch and Flemish school is extremely rich, particularly in Vandycks,
but as might be expected specimens of the French school are the most
numerous, the principal gems of which are by Claude Lorraine, Poussin,
and Le Brun, infinitely superior to the productions of the present day.
There are besides many pictures by French artists of the time of David,
Gérard, Gros, etc., which I consider generally inferior to some of those
of their best painters now living.
There are several private collections that are well worth the attention
of the visiter; amongst the number is that of Marshal Soult, consisting
of some of the most exquisite Murillos, I should decidedly say the
happiest efforts of his pencil, but I believe since I saw them he has
sold some of the best to an English nobleman. The gallery of M. Aguado
(Marquis de Las Marismas), contains undoubtedly some very fine subjects
of the Spanish school, and others that have considerable merit, but out
of the great number of paintings which are assembled together the
portion of copies is by no means small; still there is sufficient of
that which is very good to afford great pleasure to the amateur. The
residence of the Marquis was in the Rue Grange-Batelière, and it is to
be presumed that, notwithstanding his decease, the establishment will be
kept up as before. The collection of the Marquis de Pastoret, in the
Place de la Concorde, is well worth visiting if you have a good pair of
legs and lungs, for I believe you have upwards of a hundred steps and
stairs to mount; but an ample reward will be afforded in viewing some
very clever small cabinet paintings by celebrated Italian, French and
Flemish masters.
The Baron d'Espagnac has at his hôtel in the Rue d'Aguesseau a selection
of paintings which may be considered one of the most _recherchée_ in
Paris; a landscape by Dominichino is quite a gem, and he has scarcely a
painting in his numerous collection but must be admired; his copy of the
Last Supper by Leonardo da Vinci is perhaps the best that has ever been
executed, and affords a most exact idea of the original, which is now,
alas! nearly if not entirely defaced. To see these, as well as many
other very excellent private collections, it is merely necessary to
write to the owner and the request is immediately granted.
Mr. Rickets, an English gentleman living at No. 9, Rue Royale, has about
400 pictures, amongst which are some of considerable merit and
particularly interesting, either for the execution, the subjects, or
certain associations connected with them; this selection presents a
singular variety of styles, wherein may be recognised all the most
celebrated schools; some of the smaller pictures are executed with the
most exquisite delicacy and require long examination to form an
adequate appreciation of their merit. This collection is only accessible
through the medium of an introduction. As many purchasers of pictures
often want them cleaned and restored, I would recommend them to a
countryman for that purpose, M. Penley, No. 11, Rue Romford, whose
efforts I have seen effect a complete resuscitation upon a dingy and
almost incomprehensible subject.