Birgfeld French Opera

“This is the last week of the well-known French operas at this theatre. The house has been nightly crowded, but Mr. Birgfeld has felt impelled to change the programe. To-night ‘Barbe Bleue’ will be sung, and to-morrow evening ‘La Belle Hélene’ [sic]. On Friday, ‘La Chanson de Fortunio’ and ‘Les Bavards.’ At the Saturday matinée ‘Barbe Bleu’ will be presented for the last time, and on Saturday evening two new operas will be given, ‘Mons. Landry,’ by D. Dufrato, and ‘Le Matire de Chapelle,’ a comic opera by Ferdinand Paez. The charming opera, ‘La Drayon de Villas,’ is in active rehearsal. The Fifth Avenue is at present the only theatre devoted entirely to the interests of French opera.”

“To-morrow is a grand gala night at the Fifth avenue Theatre [sic, capitalization]. Two new operettas will be produced for the first time. They are called ‘Mons. Landry’ and ‘Le Maitre de Chapelle.’”

This elegant theatre was well filled last evening, the assemblage present being of the most select and appreciative character. The attractions were unusual; two new one act operas being upon the bills, and the advertisements speaking of the evening as set apart for a gala programme. Those who were attracted by the novelties could but be fully satisfied, while those who are regular habitues of the theatre found themselves greeted with a genuine treat. The first piece on the programme was a one act operetta by J. Duprato. The music in this piece is lively in the extreme and in some respects is far in advance of the style of the now favorite Offenbach. Mlle. Tostée appeared as Mme. Parfait, and it is only necessary to say that in the character she fully maintained her already high reputation. Although the part did not afford her quite as much scope for naiceté [?] as some of the rôles with which her name is associated she infused into her rendition so much life and humor that she fairly won the plaudits of the select audience who filled the house. In ‘La Foire de Bagneux,’ one of the most lively portions of the operetta, a duet between Mme. Parfait (Mlle. Tostée) and Landry (M. Dardignac), both artists did their best, and the music and the dance which accompanied it were so favorably received that a repetition and yet another were vociferously required. M. Duchesne sang and acted well as M. Parfait, and Mlle. Rose made the most of the somewhat small part of Suzanne. The performance closed with ‘Le Matire de Chapelle,’ a one act opera comique by F. Paer. This piece has a very simple plot, and seems only to be composed for the purpose of providing some due trios. However this may be, the music is good, much better than in some of the better known operas. It abounds in good orchestrations and taking airs. Only three characters are introduced, namely, Gertrude (Mlle. Duclos), Benetto (M. Decre), Barnabe (M. Tholer); but the opera, notwithstanding, is full of good business for each performer, and fine music for each singer. Mlle. Duclos acquitted herself nobly. Although a little nervous at the commencement, all temerity wore off as the opera progressed, and she sang the music which came to her share in really fine style. Both the gentlemen in the cast did well.

The performance as a whole was a very enjoyable one, and the management will do well to repeat the bill.”

“This week closed at the Fifth Avenue Theatre on Saturday night with a performance of two trifles rather more serious than the familiar stock pieces which have taken turn and turn about at this establishment since Mr. Fisk and his bouffe artists moved in. ‘Mons. Landry,’ an operetta by J. Duprato, contains music of a light, albeit rather more conscientious character than the melodious nonsense of Offenbach, and has several numbers of very decided merit. The action is sprightly, through seldom downright funny, and the interpretation of it, by Tostee, Duchesne, Dardiguac, and Mlle. Rose, was all that could be desired. The opera comique of ‘Le Matire de Chapelle,’ by F. Paer, followed. This depends for its effect almost entirely upon the comic talent and musical culture of the three dramatis personæ, and as these were Mlle. Duclos, M. Decre, and M. Tholer, our readers will not be surprised to learn that the piece was somewhat heavy. It contains some admirable trios, however, and other good music.”