Grau French Opera Bouffe: La Grande duchesse de Gérolstein

At this time two opera ensembles perform the “Duchess”: one at Pike’s establishment with the renowned Tostee in the lead, the other at the French theater under Grau. The latter did not at all fulfill the expectations after Grau had spent a lot of energy in advertising and praising its production. He published a detailed biography about all performers, and announced the lead Rose Bell as an almost irressistibly attractive, charming, and coquettish singer. Rose Bell is not that young anymore and is despite her pleasant voice not appropriate for Offenbach opera in regards to her style of acting. She is too rigid and too decent especially for a French audience. The tenor Carrier is also of mature age, his voice is not special, and he exaggerates terribly. The best performer is the German Beckers as General Boum. The rest of the ensemble is not worth mentioning. This is not a good prognosis for the Grau ensemble.

“Grand Duchess Rose Bell, of the Théâtre Francais, holds undisputed possession at present of the field of opéra bouffe in this city, and will continue to do so until Wednesday evening next, when a rival Grand Duchess will appear at Pike’s, backed up with a large and well disciplined vocal army. Meanwhile Madame Rose Bell will delight her numerous admirers with her original and stately interpretation of the imperious Duchess, who, though dignified, so far forgets herself as to fall desperately in love with a stupid, blubbering dolt, whose only recommendation is his lack of common sense. Large and fashionable audiences nightly greet Madame Rose Bell in this particular rôle, but they are of that austere and phlegmatic order which is always so dispiriting to the true artist and which very often chills the whole performance. Despite, however this damaging drawback, Madame Rose Bell is fast gaining a hold upon the public which may prove more lasting in the long run than if at the outset she had taken the entire music loving portion of our community by storm. She has voice, looks, figure and the grace of an accomplished actress in her favor, and will unquestionably be a general favorite yet with our citizens, if not in opéra bouffe, then beyond a doubt in opéra comique. There is no denying that the public do not take kindly to, nor are they in sympathy with the Grand Duchess as rendered by Madame Rose Bell. This may be owing to the fact of their having become too thoroughly familiarized with the same character as heretofore rendered in this city to have their ideas of what it should be upset in a hurry, or it may be that Madame Rose Bell’s conception of the character is too haughty and magnificent to suit the buffoonery of Mr. Carrier’s Fritz; or Fritz, as here portrayed, is probably too much of a verdant blockhead to harmonize nicely with Madame Rose Bell’s regal Grand Duchess. But be this as it may, Madame Rose Bell’s rendition of the Grand Duchess is dignified and grand both as regards her singing and acting, and as there remains but three nights more for the public to witness her in this familiar rôle it is more than likely that the house will be crowded every night.”

“Until Wednesday night Mr. Grau will enjoy a monopoly of opera bouffe, and those who want to enjoy the humors and absurdities of the ‘Grand Duchess’ must visit the French Theatre. Madame Rose Bell, as the Grand Duchess, grows in favor as her style of personating that character is better known. Her place will, however, be taken by Mlle. Marie Desclauzas on Thursday evening, as Mr. Grau’s contract with the latter gives her the right to make her first appearance here as the Grand Duchess.”

“The French Theatre was filled last night with one of the most cultivated and fashionable houses of the season. Among those who enjoyed the performance was Miss Kellogg. The refinement and delicacy of humor which characterize Madame Rose Bell’s Grand Duchess is the better appreciated as it is the oftener enjoyed.”

“The large and cultivated audiences who have enjoyed the ‘Grand Duchess, ‘as given by Mr. Grau’s company, will be glad to learn that through the courtesy of Mlle. Desclauzas, the manager will be able to retain Mme. Rose Bell in the title character, as will be seen by the following note:

‘New York, Oct. 15, 1868

‘Mr. J. Grau, Director of the Theatre Francais:—

I observe from the press announcements that in order to fufill the terms of my contract you are obliged to interrupt the admirable representations of ‘La Grand Duchesse de Gerolstein,’ by Mme. Rose Bell, at the Theatre Française. I beg to assure you most sincerely, dear sir, that it would afford me no satisfaction whatever to be the means of disturbing the very happy relations which my estimable sister artiste has had the good fortune to establish with the appreciative American public; and I therefore request you to defer my debut, if possible, until a more suitable opportunity, and also to consider yourself entirely released from the obligation of presenting me in the role of La Grande Duchesse, which Mme. Rose Bell so charmingly fills. Accept, dear sir, the expression of my sincere esteem. Marie Desclauzas.’

The first ‘Grand Duchess’ matinée at the French Theatre will be given next Saturday. ‘Genevieve de Brabant’ is ready, but will be postponed in view of the continued and growing success of the ‘Grand Duchess.’”

“Why is this thus? The ‘Grand Duchesse’ was never better gotten up than here, with these new and costly dresses from Paris, decorations, scenery, &c; the leading singers, the army and the chorus were never better nor under better discipline; there never was a handsomer or more fascinating or more graceful Duchess than Mme. Rose Bell; and she can sing Tostée out of her boots. Moreover, have we not a Fritz here who was born to be Fritz and a General Boum who gives us all his fuss and feathers in perfection? Yes, yes; a thousand times yes. Why is it, then, that the never-failing ‘Duchess’ has failed to crowd this house to-night? Has she had her day? No, nor can it be the rain, for a pair of confederate spies from Pike’s Peak report that on the Eighth avenue the original ‘Grande Duchess’ in New Amsterdam, from the ground floor to the skylights, has a perfect rush, a regular jam; that all the world and his wife and daughters are there, with some of their cousins from the country, and that Bateman is as proud as Lucifer, and Pike is lovely to behold. Why, as they say all round us, why is this thus? Grau cannot answer the question. The caprices of this capricious public puzzle him, He has done everything to command a royal success; he deserves it, but even of the ‘Grand Duchess’ enough is as good as a feast, and Tostée, this dear, delightful New York public say, has the pre-emption right to the honors of the Grand Duchess. It is her peculiar property. She can’t sing it, perhaps, as Offenbach would wish; she hasn’t much of a voice; in stature she is less than the average height of a duchess; but—but she is so delightfully absurd in this rôle, she makes of it such a delicious humpty-dumpty sort of a thing, she puts so much French friskiness and deviltry in it that she has won the town. This burlesque of the ‘Duchess’ is therefore, to her what Solon Shingle is to Owens or what Lord Dundreary is to Sothern or what Rip Van Winkle is to Jefferson; it is regarded as her property by right of pre-emption, and Lond Bateman is the gentleman who knows it. Another thing, Madame Rose Bell’s Duchess is too refined, distingué and superb, too genteel and polished for New York at this late day, because Tostée has adapted the public taste to her rollicking and democratic Duchesse. That’s all there is about it, and with his excellent artists and fine company Mr. Grau ought to waste no more time in this rivalry for the ‘Grande Duchesse.’ Yet the house of Grau was much better than we had expected to find; the opera was done in a lively dashing and spirited manner, it was received with great enthusiasm, and the Ducnesse of Mme. Bell was in truth so perfectly splendid and bewitching that we envied for the time her lucky Fritz, and even the misplaced General Boum, the charms of her gracious familiarity.”

“The last two performances of ‘The Grand Duchess’ at the French Theatre have been enjoyed by large and cultivated audiences, but Mr. Grau has decided to withdraw th opera after to-night, to make way for ‘Genevieve de Brabant.’ The rehearsals for the production of this opera will compel a suspension of performances until next Thursday night, when the new opera will be brought out in superb style. We think that Mr. Grau is wise in withdrawing an opera which has been run longer than its relative merits warrant, and in producing a novelty which all will be anxious to witness.”

Half price admission at 9:30p.m.

“The first brief campaign in this furious but bloodless war ended yesterday. Field Marshal Grau, with a more praiseworthy deference to public opinion, as indicated by the press, than was shown by certain military authorities during our late civil war, changed his plan of operations entirely. After a brilliant matinée, General Fritz Carrier was stripped of all his honor and retired with Mlle. Wanda to his native village. General Boum Beckers was ordered to retreat with his army. Prince Paul and Baron Grog, his papa’s envoy, disappeared with the entire court of the Grande Duchess Rose Bell, who herself was constrained to abdicate. But, after all, Field Marshal Grau only contemplates a skillful flank movement, and on Thursday next, with all his forces on a war footing, he will surprise the public with the splendid costumes and scenery and the superb music of ‘Geneviève de Brabant.’ Perhaps it would have been more discreet for him had he left the libretto of this new operetta untranslated; for then but comparavitely few would be aware how far it carries the license claimed by opéra bouffe. This very license, however, may prove a recommendation to the present depraved appetite of the public for piquancy, even at the expense of purity. Our own impression is that the sooner Mr. Grau shall decide to favor us with opéra comique in place of opéra bouffe the better it will be for his own interests and for the credit of the French theatre.” [Review continues with discussion of Bateman’s production at Pike’s Opera House]

The rival opera houses have, somewhat injudiciously, we think challenged comparison between their respective troops by opening the season with the same operetta. The public must render its own verdict. If we are not greatly mistaken this verdict will agree with our opinion that the reign of ‘La Grand Duchesse’ is well nigh at an end; that Irma, delicious little Boulette as she is, cannot restore it successfully; that, as a French contemporary says, while ‘Tostée plays the part ravishingly Rose Bell sings it like an archangel; Tostée has dazzling costumes, Rose Bell is a beauty.’ Leduc is incomparable as Prince Paul. That Aujac has failed to be the incarnation of Fritz is no discredit to him, for he is as admirable in opéra comique as he is unfit for opéra bouffe. Carrier’s Fritz is superior to his, although Carrier somewhat exaggerates the character. The voice of Carrier is more powerful than that of Aujac, although, to some ears, less agreeable. Duchesne created, for our imagination, the character of the impetuous Boum, and cannot be replaced by Beckers, skillful actor and scientific musician as the latter is. Mademoiselle Lambelé is better suited for opéra comique than for opéra bouffe, and her Wanda, althouth she is not too well got up for it, is more satisfactory than any we have seen. The choruses of Bateman’s troupe are surpassed by those of Grau, or, at least, seem to be fewer in number and not so pretty or so well dressed on the larger stage at Pike’s. The orchestras at Pike’s and the French theatre—the one under the direction of Mr. Birgfeld and the other under that of Mr. Stoepel—are both commendable.

As for the manager of the rival opera houses very few words will suffice. Mr. Bateman, indeed, needs none at all; for he says enough, if not too much, for himself. The other night he almost overtaxed the patience of the audience by the speech in which he compared himself to Columbus. Some of the spectators wondered why he had forgotten to supply himself with a wand, in order, like an ordinary showman, to point out each and every figure, ‘fearfully and wonderfully made,’ displayed on the drop curtain; but, as Figaro remarks, ‘let that drop.’ The public are perfectyly willing to admire your energy and to recognize the fact that in the French theatre and even in the more spacious hall at Pike’s—too spacious, we fear, for opéra bouffe—a complete magnetic circle seemed to be established between you, your ‘Grand Duchess,’ her court and the audience; but no more speeches, if you please, Mr. Bateman. Whatever other mistakes Mr. Grau may have committed he deserves the credit for never obtruding himself upon the public. Not even his extraordinary triumph in the representations of [actress] Mme. Ristori tempted him to deviate from the modesty which best becomes an able and successful manager.

The war of the opera houses threatens to be the death of the ‘Grande Duchesse of Gerolstein,’ under whatever name she may claim an allegiance. If in our duty to the public we must sign her death warrant, we shall, nevertheless, long remember how brightly her reign has enlivened the American stage.”

“The first and last Grand Duchess matinee of the season was given yesterday at this establishment and was attended by a large and fashionable audience, the principal portion of whom were ladies. Madame Rose Bell sustained the title rôle and was in excellent voice, as were also the other leading artists who took part in the performances, but, although they evidently gave entire satisfaction, their efforts to please were unrewrded by any marked enthusiasm or applause on the part of their auditors. This may be owing to the proverbial owlishness which characterizes all matinee audiences in this city, and who generally reserve whatever in the way of applause they may have to bestow upon their favorites for the evening. However, be this as it may, Madame Rose Bell is an excellent artist in the fullest interpretation of the word, and has demonstrated that a Grand Duchess can be graceful and ladylike even while making love to a dolt, without descending to vulgarisms. Certain it is that the longer the ‘Grand Duchess’ remained upon the boards at the French theatre the more it was appreciated, and but for previous arrangements, which admitted of no postponement, it would probably have held its own for weeks to come, and would have unquestionably increased in popularity as it grew older. The theatre will remain closed until Thursday evening next for the purpose of preparing for the opera of ‘Genevieve de Brabant,’ which will be produced on that evening at this house for the first time in this country.”

“Those journalists who are fond of speaking of the operations of the two companies of opera bouffe now in this City in the martial language of the camp, be-Field-Marshaling this Director, and be-Major-Generaling the other, must be sorely perplexed to account for the tactics of Mr. Grau, who has suddenly relinquished the field. This strategic movement reminds me of a similar occurrence in ancient times, when

‘The King of France, with fifty thousand men,

Marched up the hill and then—marched down again.’

The fight for which we were all so anxiously waiting is not likely to take place. At best it was but a foolish challenge forced upon Mr. Grau by over-zealous friends. The first night of the ‘Grand duchesse’ at the Theatre Francais decided the matter. Notwithsdtanding the extraordinary announcements of the management and the wonderful pamphlet issued in advance of the opening, it became quite apparent that in opera bouffe the company was in no way equal to Mr. Bateman’s. This impression deepened and widened during the few performances that were given. Seeing this, Mr. Grau endeavored to change the cast by substituting Mlee. Desclauzas for Mlle. Rose Bell—one of the most hazardous steps that a manager could possibly take, seeing that it implies the failure of the incumbent—why else put another in her rôle? The manager was ingenious here, and respectfully and affectionately replied, because he was bound by his contract to give Mlle. Desclauzas a début in ‘La Grande Duchesse.’ Why did he not do so at first? Evidently he was under the impression that Mlle. Rose Bell was the better of the two, and when he found that the public did not share his opinion he wished to make the exchange. Mlle. Desclauzas, in a beautiful little feline, letter declined to deprive her sister artiste of the distinction she had won in the rôle, and preferred to postpone her own début until the production of ‘Geneviéve de Brabrant.’ Thus nonplussed Mr. Grau determined to close the theatre, which he did on Saturday after the matinée. It will remain closed until Thursday, when Offenbach’s new work will be brought out in ‘a style of splendor never before witnessed on any stage whatever in America,’ &c. &c. Mr. Grau’s advertisements lack nothing whatever in the way of strength.”

“The matinée on Saturday brought to a close for the present the performances of La Grande Duchesse by Mr. Grau’s troupe. The French Theater will remain shut until Thursday, when we are promised the first representation of Génèvieve de Brabant and the débuts of Mlles. Desclauzas and Fontanel and M. Gabel. Meanwhile Tostée has it all her own way at Pike’s.”