Bateman French Opera: La Grande-Duchesse de Gérolstein

Event Information

Venue(s):
French Theatre

Proprietor / Lessee:
H. L. [impressario] Bateman

Price: $.50 gallery; $1; $1.50 reserved; $8-$10 balcony boxes; $10-$15 proscencium boxes

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
4 August 2016

Performance Date(s) and Time(s)

04 Nov 1867, Evening
06 Nov 1867, Evening
07 Nov 1867, Evening
08 Nov 1867, Evening

Program Details

Overture begins at 7:55pm.

Tostée was replaced by Armand at the beginning of the week.

Performers and/or Works Performed

Citations

1)
Advertisement: New-Yorker Staats-Zeitung und Herold, 31 October 1867, 6.
2)
Advertisement: New York Herald, 04 November 1867.
3)
Advertisement: New-York Times, 04 November 1867.

“The House thronged every night with the most fashionable audiences.”

4)
Review: New York Post, 05 November 1867.

“Last evening [Nov. 4] there was the usual full attendance at the French Theatre, and ‘The Grand Duchess’ gave the musical satisfaction to those present although Mlle. Tostée was unable to appear. The attractiveness of this opera does not depend on the efforts of any one artist, and the place of Mlle. Tostée was, besides, well taken by Madame Armand.”

5)
Review: New York Herald, 07 November 1867, 7.

“We suppose it may be said of Tostée’s recent illness that ‘cette imposante cérémonie est terminée.’ At all events, Tostée appeared last night [Nov. 6] in all her glory, if we except a pretty and interesting little cough, and a modicum of that feminine whim that is supposed to be permitted to public favorites. Perhaps we ought not to except this last, as every true prima donna accounts it part of her glory. J’aime les Militaires, C’est un Fameux Régiment and the Sabre de Mon Père were given in capital voice and with all the artiste’s piquancy and style, but that dainty piece of sentiment ‘Dîtes Lui’ was left out—utterly ignored—given the go by as coolly as if it were one of three hundred plebeian ballads hitched in twine on the Park railing. But if Tostée robbed the public, those excellent artistes who personate respectively Boum, Paul, Puck and Fritz more than made amends by the spirit with which they entered into the story. Paul sang and did his etiquette charming; Boum was more than ordinarily magnificent; Puck a little droller than usual, and Fritz particularly determined to make the duchess ridiculous in her love. The house was densely crowded with a fashionable and appreciative audience.”

6)
Review: New-York Times, 07 November 1867, 5.

"The original cast of ‘The Grand Duchess’ has been resumed at the French Theatre., and Mlle. Tostée, who was compelled to retire for a few evenings on account of illness, has returned to her elevated and entirely humorous role, while Mlle. Feleassett, who was her substitute for the time, flourishes again as the arch Wanda.”

7)
Review: New-Yorker Musik-Zeitung, 09 November 1867, 216.

The theater has been completely sold out, even when Tostee was temporarily replaced by Miss Armand. Tostee was back on stage tonight. Bateman has formed two ensembles for this opera. One will eventually tour the country… 

8)
Review: New York Clipper, 16 November 1867, 254.

“No better evidence of the true excellence of the French Opera Troupe, brought to this country by Mr. Bateman, can be found than in the fact that on every evening of their appearance since the commencement of the season, scarcely a seat or, at times, a standing place has been left unoccupied. What makes the success of this troupe still greater is that but one opera has as yet been presented, that the ‘Duchess of Gerolstein,’ which was a success on its first representation. Being a new opera, light and pretty, it hit the popular taste from the first scene to the last. Future performances but further proved the correct judgment of the auditory and the complete master power of the company. Mlle Tostee, having fully recovered from her late indisposition, resumed the role of the Duchess last week, and Mlle Feleasset, who was her substitute, is again the coquettish Wanda. Tostee’s sweet voice seems to have increased in compass and richness, as if keeping pace with every performance. The ‘Duchess’ on every successive evening of its representation has been a continued triumph throughout, and the audience lavish applause upon those sustaining the principal roles. While we are pleased to chronicle the continued success of this opera, we would like to hear the company in something new, just for a change.”