Birgfeld French Opera: La Périchole

“There will be a renewed activity this week in opera bouffe. Mr. Birgfeld’s excellent company, of which Irma, Tostée, and Aujac are the stars, take possession of their new and pretty domicile, which Mr. Fisk, the owner, has named the Fifth Avenue Theatre, and which wasfor [sic] a season, more brief than brilliant, known as ‘Brougham’s.’ This company commences its season to-night with ‘La Perichole,’ which they made a great favorite just before they went away.”

“Mr. Birgfeld returns to the charge at the Fifth-avenue Opera House to-night. ‘La Perichfole’ is selected for the opening of the new season at this beautiful little establishment, where opera bouffe is to find a permanent home. There will be a change of opera every night during the week. Mlle. Irma and M. Aujac sustain the principal characters in ‘La Perichole.’”

“It has been claimed of late by various managers, and others who have good facilities for testing the public taste, that the popularity of Opera Bouffe is practically at an end—that, like other manias, it has had its day, and will soon be entirely a thing of the past. Mr. Grau’s late experience is advanced in favor of this theory, for though he has produced a rapid succession of new operas, in good style and with popular artists, they have not seemed to hit the public taste to any remarkable extent. ‘Genevieve de Brabant’ was a notable success. Its amusing plot, fascinating music, brilliant scenery and admirable performance, all combined to render it a decided hit. Its successors have not been equally fortunate. ‘L’Œil Creve’ and ‘Fleur de Thé’ failed to make any strong impression, though well sung, and in the case of the former, containing music intrinsically superior to that usually heard in opera bouffe. ‘La Vie Parisienne,’ which will be repeated this and other evenings of the week [provides information about performances…] contains some very sparkling music and a variety of amusing characters, affording ample scope for the comic acting of Carrier and Beckers, but has too great a proportion of dialogue. As a number of the patrons of opera bouffe are Americans, who do not understand the French language (though they usually pretend to do so), this superabundance of Gallic loquacity is a decided drawback. Yet with all this the ‘Vie Parisienne’ pleases better than any opera Mr. Grau has produced since ‘Genevieve.’ Its melodies are already heard in ball-rooms, and will soon be transferred to street-organs; and as the morality or immorality of an opera no longer is taken into account, it is safe to predict for ‘Parisian Life’ a fair term of life in New York.

“The theory that opera bouffe is losing its vitality here, however, received a shock last night at the Fifth Avenue Theatre, where Mr. Birgfeld’s troupe met with a cordial reception from a crowded audience. However much we may regret the withdrawal of Mr. Brougham and the dispersion of his agreeable company, it cannot be denied that this charming little house is singularly well fitted to be the home of opera bouffe. Its small size places the audience more pleasantly in relation with the performers, whose miniature voices lose much of their effect in large theatres. In this pretty little place of amusement no single play of the features, no amusing witticism or pun in the dialogue is lost. Irma and Aujac seem here to be merely spending the evening with you in costume—not performing at you from beyond vast spaces.

“Popular as ‘La Perichole’ has been from the first night of its production at Pike’s it is doubly enjoyable at the Fifth Avenue Theatre. The applause last night was frequent and genuine, and it will probably be the same this evening, when Tostee appears in the ‘Grand Duchesse.’ The friendly competition between these two singers must be beneficial to the interest of the enterprise, and for months to come this prettiest theatre in New York will probably re-echo to their melodious warblings and lively gaiety.”

“The season of opera bouffe was inaugurated last evening, at this house, with Offenbach’s ‘La Perichole.’ The cast was the same as that at the Opera House on Eighth-ave., and is already too well known to need comment. The new house has the advantage of being better adapted in point of size to the representation of opera bouffe than the larger one, but the acoustic qualities might be better than they are at present. The house was well filled by a brilliant and rather more enthusiastic audience than is usual even on first nights. The performance of the opera shows some little signs of provincial travel in the rather worn voices of the chorus, especially the female portion, but was otherwise satisfactory in every respect. All the leading artists came in for their full share of applause, and all the floral establishments in the neighborhood must have been emptied to supply the admirers of Mlle. Irma with the innumerable elegant baskets and bouquets with which she was presented at the close of every song. A change of programme is offered every night during the week, and if variety is as charming as the proverb says, this will doubtless attract large numbers of the admirers of opera bouffe.”

“‘La Perichole’ was given last evening at the Fifth avenue [sic] Theatre, (James Fisk, Jr. [sic], proprietor,) as duly announced by Mr. Birgfeld. The attendance overflowed the charming little place, and the beautiful audience was reflected a hundred times in the many mirrors with which the bright building is lined. Long before the time of opening the house was filled, and probably as many left disappointed as of those who were fortunate enough to remain and be pleased. We have quite recently spoken of ‘La Perichole.’ It is a work warmer in imagination, and more perfect in melody, than any which we have had from the prolific pen of Offenbach. The scene being removed from the immediately influence of Parisian ideas, there has been an evident effort on the part of the composer to attain a certain local coloring, and this, with his well-known rhymic [sic] tendencies, renders the Spanish style a convenient one for him. No recent work has pleased us so much as ‘La Perichole,’ and we are glad to find that it has favor with the public. Of the performance last night we can speak in the highest terms. Why should it not be good? The company has played the work repeatedly during its recess, and all the artists who have made its success return under Mr. Brigfeld’s [sic] able management. Mlle. Irma was in admirable voice. The proportions of theatre enable the lady to show all the delicate nuances of her naturally fine organ, as well as its native purity and power. M. Aujac was, of course, excellent, and the smaller parts were interpreted with the clearness which we expect in such an organization and are rarely disappointed in finding. The chorus was especially strong, and lacked nothing whatever ia [sic] precision and knowledge of the necessary stage business. The scenery, in its way, is good, but it has evidently been produced in haste, but it is good, even too good in its way. The orchestra is adapted to the size of the house, but it lacks a firmer tone in the violins. There are certain wood and brass instruments which cannot be reduced in number. The poor stringed instruments have always to suffer from the pressure of the full-breathed brethren. One or two more violins would certainly preserved the melodic statements which Offenbach is constantly in the habit of making, and which have to be asserted, inasmuch as they are statements, and essential to the development of the composer’s purpose. We may add that the material of the orchestra, as constituted, is admirable.”

“The Fifth Avnue Theatre was opened with Mr. Fisk’s Opera Bouffe troupe on the 5th inst., the leading features being Mlles. Tostee and Irma, and Mons Aujac. The attendance was very large at the initial performance, and this continued throughout the week.”