New Orleans Opera Bouffe: Orphée aux enfers

“Another crowded house greeted the mythological representatives last evening, when a slight improvement on the previous performance was discernible, yet far from sufficient to merit commendation, for the same faults, already pointed out, were egregiously and glaringly displayed. We have ere this dilated upon the utter wretchedness of the orchestra, its incompetency and general recklessness, and would not again advert to it but for the determined incapacity which it still exhibits. The most resolute opponent to Offenbach’s sweet gems, the most envious rival to his harmonious choruses, could not better execute this coup de grace on that popular composer than by employing the crowd of semi-organ grinders who pretend to play his tenderest effusions. Imagine a dozen hurdy-gurdies out of tune, each whining on its own account, with a street band for accompaniment, and a faint idea may be formed of the musicians of the French theatre. Time, touch and feeling seem utterly indifferent to them, and while throughout the conductor is wriggling himself into a perfect fever of excitement, his brethren blow and rasp as if in the midst of a gymnastic feat of lung strengthening and muscular development. But enough of this. Such exhibitions will not suit an intelligent audience, and the sooner they are put an end to the better for all parties concerned. Again, the company as a whole are sadly deficient. To be sure Mlle. Lambele is a fascinating actress and gifted vocalist, a lady of undeniable talent and one who has created the most favorable impression by her grace, earnestness and versatility. But a single star cannot accomplish what would at least require half a dozen to fulfill. Mlle. Lambele, although eminiently successful in her own efforts, is badly supported. The others appear to have but little idea of what opera bouffe really is, and even if they had, their limited accomplishments would undoubtedly deter them from carrying out their intentions. Forgetting or not knowing the true aim of burlesque they think that nothing can be comic which is in the least degree decent or respectable. The most miserable and pointless sallies and the most idiotic mode of provoking mirth seem to be the prominent characteristics of the New Orleans troupe, while the text of the libretto is freely embroidered with the baldest platitudes. Instead of gracing the entertainment with an air of elegance and refinement, the bodily contortions of the nigger dancer and the hideous grimaces of the circus clown are freely copied.  No doubt such extravagances will appeal to the lowest denizens of a saloon, to the entire and successful exclusion of the upper sections of the community. It is unnecessary to expatiate further upon the subject, and fruitless to point out the individuals to whom these observations especially refer. Yet we cannot conclude without emphatically expressing our opinion that such a state of affairs will not be allowed to exist. If Manager Grau has won the favor and confidence of the public in introducing to this country the greatest of living artists in the gifted person of Madame Ristori—and none will deny him that honor—he must not rest upon his oars, content with the triumphs he has already achieved. It is his bounden duty to supply us with the very best of talent, for, cost what it might, he would eventually be the gainer. American audiences are, perhaps, the most lenient on the face of the globe; but they are none the less sensitive for all that, and while they might for a time indulgently submit to and bear patiently with mediocre in place of true artistic interpretation, they would finally, as in many demonstrated instances of Italian opera, inflict upon the manager the result of financial failure by letting severly [sic] alone such inferior substitutions. None are more willing to render substantial appreciation to judicious management than the discriminating public of this city. A ripened harvest as yet ungathered is here presented, and it is only necessary to point to the great success of Madame Ristori—an artist who stands unrivalled in her line of business—as an evidence of the certain success which would attend the introduction of other artists equally pre-eminent in different specialties. Even Italian Opera with Patti would pay well, and the game rule applies with even greater force to the lighter entertainment of opera bouffe. If, therefore, Manager Grau could induce Mlle. Schneider and M. Dupuis, the greatest impersonators of Offenbach’s conceptions, to visit this country, he need have no apprehension of the success of his enterprise. The untitled representatives of wealth, fashion and intellect in America are quite as ready, as they are as able, to give due recognition to genius as their titled compeers of the Old World.  Indeed, they will not long be content with less.”

“‘Orphee aux Enfers’ as performed at the French Theatre, improves decidedly upon the first representation. A large audience was in attendance last night, and the grotesque and ridiculous features of the opera were intensely enjoyed. It is true that there is not a first-class singer in the company, but the opera bouffé is by no means as exigeant as the serious opera, and can dispense with extraordinary vocal ability. The singing is subordinate to the acting, and in the latter respect some of the members of the present company are especially felicitous, M. Edgard taking the foremost position.

“Those who have not yet heard ‘Orphée should by all means pay the French Theatre a visit some time this week.”

“The opera bouffe, ‘Orphée aux Enfers,’ rather an extravaganza (and a remote one at that) than a burlesque of comic opera, still continues, maugre adverse criticism, to attract full houses—a success principally attributable as excellent acting on the part of several of the company; for, in point of fact, the thread of the opera and the general ensemble of the tableaux and costumes are too remote and mythological to be interpreted as effective comic hits. The cast has previously been adverted to, as have the general surroundings, and need not be enumerated. It remains to remark that Mlle. Lambele as Eurydice has been exceeded in acting by no representative of the comic opera in America as yet. Piquante, graceful almost to a fault and endowed with a certain verve and spirit, which are rare qualities, it cannot be denied that her voice, though lacking power, is very sweet and flexible as well as clear and cultivated. Nor can it be denied that in the part of Eurydice little power is needed, a clear, flexible mezzo soprano answering every requirement of the rôle. M. Edgard, as Jupiter, is indescribably droll and effective in the scene in which he personates the fly, while Mlle. Lambele is equally droll and effective in the same scene, which is really the gem of the whole performance. For the rest, M. Goujou, as Pluto, is an excellent actor, while M. Decre, as Orpheus, exhibits to advantage a very sweet tenor voice, of peculiar quality in one or two respects, though not of remarkable compass and power; exhibiting also a very fair mastery of the capabilities of the violin. There are certainly fewer popular airs in this opera than in either of the two which have preceded, and fewer popular elements as well; though it must be granted that, taken as a whole, the music is singularly adapted to the spirit of the piece, not only in the fly scene, which is the hit of the whole opera, but everywhere else as well. The conclusion of the second tableau is also remarkably effective—though the same cannot be said of the conclusion of the fourth, which is too cancan-ish for any except a Parisian public—and presents Eurydice very elegantly mounted on a pedestal which is furnished by the back of the kneeling Jupiter. On the whole, the company is a good [one] and has several excellent actors; nor can any reason be assigned why Lambele should be written down as the inferior of Tostee in comic impersonation, though there are many reasons why ‘Orphée aux Enfers’ should be written down as the very worst and most mediocre of all the productions of the modern Puck of music. In brief, the partial failure of Lambele, Goujou and Edgard—three excellent artists—is rather the fault of the opera than of the actors, who have effected a great deal in connection with a piece in which a complete triumph was impossible. The bizarrerie of ‘Orphée aux Enfers,’ excessive and remote in every respect, might fascinate a Parisian public, but can never be popular with an American audience.”