Bateman French Opera: La Belle Hélène

“Mr. Bateman's season will terminate in two weeks. It has been one of the most brilliant on record, and in one particular is quite distinct from any of its predecessors. There were but two operas produced in all, ‘La Grand Duchesse,’ and ‘La Belle Hélène,’ but these were so well produced, and gave such general satisfaction, that they have been amply sufficient. Indeed, there is no doubt that they will bear reproduction next season, and create another furore.”  

“‘He cried no wonder such celestial charms for ten long years have kept the world in arms.’ So Pope says that Homer says that Priam said when he first saw La Belle Hélène—and that was without Offenbach’s music and without the Paris dresses. What would the exuberant old fellow have said if he had seen it with all these additions, if he could have entered into the spirit of that exquisitely arch piece of musical mischief, ‘Le Roi Plaintif qui s’embarque,’ or have heard the naïve reflections of the princess touching un mari sage? Hélène, Menelaus, Agamemnon, Paris, the two Ajaxes, have become as much realities in the life of the play-goer as were a short time ago the ‘Grand Duchess’ Paul, Puck and Boum; and realities of the same nonsensical and delicious sort—people in whose company we give ourselves up to absolute fun and laugh at all the shams and things heroical. Long live the princess and her husband, the king of kings, and Calchas the priest! But unfortunately they are not to live long in the presence of our public. Next week is their last here, Mr. Bateman’s lease of the French theatre expiring at that time. A grand testimonial benefit has been proffered to Mr. Bateman, to take place at the Academy of Music, with which our brilliant season of opera bouffe will come to an end.”

“French Theatre.—The ‘Belle Hélène’ is still the great musical comic and artistic attraction of the season, though for the time Mlle. Tostée is off the boards--the victim of the trouble with her throat that has bothered the prima donna, the doctors and the whole town all winter. Tostée is, however, we are happy to say, acceptably replaced by Mlle. Fleuet de Longchamps, who acts the part with spirit, style, and a happy appreciation of its meaning. Mlle. Longchamps sings the part particularly well. She sings, indeed, the pieces that are omitted in the version given by Tostée, some because they are beyond the capabilities of that lady’s voice. The invocation to the goddess, ‘Dis moi, Venus,’ is of this class—an exquisite piece, given by Fleuret with fine and true sense of its character. The rendition of ‘Amours Divins’ is also quite exceptionably happy.”