Grau French Opera Bouffe: Geneviève de Brabant

“Grau is satisfied with Genevieve and her funny adventures. As for Italian opera here, if Offenbach has not killed it he has driven it for a time from the field, and Maretzek sits brooding over its fallen glories like Marius over the ruins of Carthage.”

“Rivalry between operatic managers, as indeed among all classes of the community, invariably redounds to the public advantage. Our prognostications relative to the French Theatre have been fulfilled to the letter, and Mr. Grau now triumphs in a success which his courage and discretion have meritoriously evoked. Genevieve de Brabant, though at present in its seventh week, is only beginning to be thoroughly appreciated; for there is a charm throughout the entire composition, a pleasing variety and a melodious expression in its proper rendition that truly awaken a lively interest. The portions that cling most to the fancy are remembered with pleasure and will soon arouse that popular sympathy that made the sparkling airs of La Grande Duchesse so universally favored. Opera Bouffe was never better mounted in the French Theatre, and the gorgeousness of the entire arrangements is only equaled by the well divided talent of the numerous artists. Rose Bell is buoyant and graceful, and contributes largely to the great success which has hitherto attended the crowded representations of the famed Genevieve, the nightly reception of which appears to be characterized with nothing short of enthusiasm.”

“The music is increasing in popularity, and it is generally conceded that it includes the best of Offenbach’s yet known here.”

“Another sprightly representation of ‘Genevieve’ at the French Theatre last night was witnessed by a fair audience; Rose Bell, Desclauzas and Guerretti all sang deliciously, the latter artist proving a most worthy coadjutor of the two prima donnas. The usual encores were demanded, and the railroad scene was given with especial vivacity.”

“M. Offenbach, undaunted by two previous failures and not choosing to ‘beware of the third time,’ has written another work for the Opera Comique.”

“This most amusing burlesque has steadily gained in favor with the public since it was first produced and promises to run for some time longer.  The artists enlisted in its performance are thoroughly appreciated and command unbounded applause.”

“M. Petit in his amusing part of Narcisse has introduced certain new points which add greatly to its ludicrous effect. Rose Bell continues to be as charming as ever, and the Tyrolean trio is nightly encored. It is to be hoped that in the forthcoming operas, the singer whose noble bass voice is so effective in this trio will be heard in more prominent parts.”

“M. Grau, the fortunate director of the Théâtre Francais, isn’t dreaming yet of changing his program. . . . You’re familiar with Geneviève de Brabant and its interpreters. . . . The character of Geneviève, thankless and sacrificed, doesn’t give proof of [Mlle Desclauzas] this artist’s talent; she performs it somehow, neverless, to let us catch a glimpse of everything she can do to struggle with a role worthy of her and her reputation.

“An inconsequential incident was on the point of compromising the success of Geneviève. Last Monday, M. Gabel, the popular Pitou, seized with a pretty serious hoarseness, begged the indulgence of the audience. A superfluous precaution, for the public would acclaim M. Gabel even if he had to mime his role. Whatever the case, the indisposition didn’t have any aftereffects and from the following day Pitou reentered into possession of all his faculties. Grabuge-Bourgoin, the austere muse of the police-force, and Gabel-Pitou, the whimsical foot-soldier, will continue, like two honest caryatids, to support the edifice on whose pediment Rose Bell reigns in all the resplendency of her talent, more and more idolized by the public. . . “