Théâtre Français: Zampa

“The second performance of Herold’s work drew a very large audience to the French theatre last night. Zampa is the heaviest and most taxing opera that Mr. Juignet’s excellent company have attempted this season, and their shortcomings may be attributed only to the nature of the music, which approaches nearly the grand opera, and is therefore unsuited for Opéra Comique artists. Still the work was, with one exception, very creditably given, and both chorus and orchestra displayed unwonted powers. The orchestra was admirably led by M. Predigam. At times the dashing music of the score inspired the musicians to such an extent that they miscalculated the power of the voices and left them completely in the shade. The violins, in particular, worked with a vim that showed they caught the spirit of the composer, but unfortunately they forgot at the same time the caliber of the voices they accompanied. This was plainly discernible in the drinking song of the first act, the same subject that commences the overture, and in Alphonse’s remonstrance with his betrothed in the second act. The voices were almost drowned by the orchestra. Of the choruses, Au signal and Bonneur! Honneur! were the best. The prayer for women’s voices that commences the second act was monotonous and too loud. Coming from the Gothic chapel, we expected it to be sung with religious fervor and softened feeling instead of being bawled out at the top of the voice. The same fault was discernible in the serenade in the third act. Mlle. Naddie deserves much credit for her exquisite vocalization in the music of her rôle. She might as well, however, have the manzanilla tree death scene in L’Africaine or Lucrezia Borgia for her style of voice as Zampa. Mlle. Laurentis is always charming in voice and acting and was particularly so last evening. De Surmont, in the duet between Camille and Alphonse, sang with more élan, and even breadth as well as purity of tone, than we ever heard him before. Of the other characters we must commend M. Edgard as a capital buffo singer. The scene in which he makes his appearance after his interview with the terrible unknown on his way back from Melazzo, was excellent. The fright of poor Dandolo and his incoherent explanation to Camilla and Rita are pictured by herold in ludicrous but most charming music. To the trembling ‘parlez, bas’ and ‘la frayeur,’ repeated rapidly and in tones of real tenor, are joined the other voices in a strange, mysterious discord, which produces a quaint and powerful effect. MM. Armand and Chol acted well but sang indifferently.  There was, on the whole, a marked improvement in every respect over the first night, and we have no doubt but that at the third representation of Zampa many of the rough points will be smoothed down and the opera given in a manner worthy of it.”     

“A large and appreciative audience greeted the renewed representation of Herold’s opera of ‘Zampa’ at the French theatre last evening. We should have supposed that this talented company had been before our public a sufficient length of time to have gathered crowds at each representation, yet there are thousands who are not aware of the fact that they have the opportunity not only of listening to much beautiful music artistically rendered, but of witnessing such exquisite acting as is not witnessed in operatic companies, and seldom seen on any stage.

Last night was such an occasion. The opera of ‘Zampa,’ although not often performed here, is familiar to the ear of our musical public. Its music, so charming, so spirited, so impressive, has found its way into our saloons, our concert rooms, and our churches. But it should be heard as a whole to be fully appreciated. We were especially pleased last evening by the duet in the second act between Mlle. Naddie and her lover and with her serenade in the last act. A solo by M. Armand, the pirate chief, and a drinking song by the male chorus, were given with a precision and vigor worthy of a more pretentious company. Messrs. Edgard and Choe were as usual very near perfect, and Mlle. Laurentis sang as satisfactorily and acted as bewitchingly as this deserved favorite only can.”

“The evening before yesterday, we had the satisfaction of witnessing that Zampa had attracted numerous spectators. M. Armand was much better than the evening of his debut, because he pushed his voice less, and in so doing avoided singing off-key. The orchestra was admirable. Costumes and scenery splendid. We can’t praise Mlle Laurentis and MM. Surmont and Edgard more. As for Mlle Naddie, she had a cold, and many others in her place would have changed the show, but this gracious singer has as much dedication as talent, and the cold tried in vain; she’s always charming.”

“Herold’s almost grand opera, Zampa, in its second representation at the Theater Francaise, evidenced marked improvement in almost every particular. Zampa has always been regarded as presenting many difficulties in the principal rôles, the situations depending more upon great ensemble excellence requiring high dramatic power in the artists than upon facile and brilliant vocal achievement. Herold obviously planned the work upon Da Ponte’s Don Giovanni, and for all situations which depend upon supernatural agency for sensational and intensely dramatic effect, he follows Da Ponte’s ideas quite closely, simply changing the form of the statue, and making Leporello a corsair’s mate instead of a valet. Why Zampa should have been written for the opera comique instead of a Parisian Grand Opera House puzzles those who do not know or recollect that Roger shone resplendent there, and other competent artists available for the roles of Alphonse, Camillo, Capuzzi and Dandolo, that the chorus and orchestra could compare favorably with those of L’Academie, while the mise en scene, and every accessory necessary needful to produce such a spectacle-opera were ready for use in lavish profusion. In fact, the great success attained with Zampa shaped and controlled to a great extent the managerial policy of the Opera Comique, and so firm and persistent has been the adherence to like melodramatic opera productions, that it elicited from Parisian critics, while commenting upon the latest work in that style, ‘Jose Maria,’ that ‘L’Opera Comique had brigand upon the brain.’ Roger was lured from his true sphere to a grander Opera-house, and he has never regained the prestige which he performance in that house conferred. Others have attempted to replace him there, but Parisians sigh for the good old days when Roger made L’Opera Comique gloriously successful.

The artists of the Theatre Francaise are not equal to the full requirements of the vocal score of ‘Zampa.’ Mlle. Naddie executes florid music very brilliantly, but she lacks vocal and dramatic force to give the intenser points due effect. She acts her part in a pleasant manner, but by no means impressively. Zampo [sic] not only requires noble presence and bearing, winning and positively fascinating address and manner, but a tendre robusto of great range and dramatic instinct to guide and color its delivery. M. Armand has a good presence and a fair idea of stage bearing, but his voice is uneven, and needs constant driving, save in the softer passages. His efforts to produce the higher tones is almost distressing. He has, however, some happy moments, and in roles of less difficulty would be a successful candidate for public favor.

Mlle. Laurentes made ‘Ritta’ very acceptable both vocally and dramatically, displaying, as usual, with this justly popular artist, nice perception of the character and music confided to her interpretation, united with vocal and dramatic ability commensurate with her excellent dramatic instinct.

Messrs. Chol and Edgard acted their parts well, but they lacked voice and skill to execute many trying passages. Their drollery and quaint, crisp dialogue carried off many vocal shortcomings, and gave life and spirit to the performance. The chorus and orchestra were in good subordination and executed their portions of the opera very satisfactorily.”