Grau French Opera Bouffe: L’oeil crevé

For Jan. 4.

“The director is happy to announce that Mme Rose Bell is rehabilitating rapidly from her grave illness of which she had been lately attained and with the intention of completely appeasing the effect of the first performance of l’Œil crevé thus that her continuation without interruption.”

“Words and music by M. Herve who created a great popular sensation in Paris, and had been, last season, the principal attraction of this joyous capital. His triumphant success was attested by the number without precedent of more than 200 performances.  The press and the public have proclaimed it the masterpiece of its composer Herve.”

Detailed ad.

Announces the premiere of L’Oeil crevé.

“Last night was not a very auspicious occasion to introduce a new opera, yet a large audience, with a goodly sprinkling of ladies, braved the torrents of rain to hear the first work of the parent of opera bouffe ever produced in this city. Hitherto we have had Offenbach, we might say, ad nauseam, the same unvarying round of polkas, galops and waltzes, the eternal six-eight and two-four measures. Last night Hervé appeared in the field as competitor for the bouffe championship. As far as the music goes he is decidedly the superior of Offenbach, but he should get some one else besides himself to write his libretto. In ‘L’Oeil Crevé’ he brings a number of very extraordinary characters together in a succession of scenes through which runs the thinnest kind of plot. Some of his dialogue is intellibible to few Frenchmen even, for it abounds in localisms and the patois of the greenroom of particular theatres in Paris. In some of the societies or clubs of artists in that capital there may be heard bon mots and jokes which are retailed [sic] in this opera, but the point of which is unintelligible to the audience. Hervé also has but a poor idea of dramatic effect in closing a scene, and the curtain rises and falls on the first act without any further effect than the introduction of some of the principal characters. But his music compensates for all. The choruses of ‘L’Oeil Crevé’ are infinitely superior to anything that ever Offenbach wrote in this line; and as Mr. Grau’s greatest strength lies in his full, well trained corps of singers this branch of the music contributed much towards the success of the opera last night. Let us look at this music in detail. Even in the overture, which in all French operas is a mere potpourri of airs, the talent of Hervé in orchestration is shown. He introduces the ‘Huntsman’s Chorus’ (which by the way is one of the features of the opera, and was tumultuously encored last night), and adorns it with a variation in the bass accompaniment which is perfectly charming. Three ladies, whose occupation would be termed here ‘pretty waiter girls,’ commence the first act with solos and a refrain in unison, which is very pleasing, and which was sung satisfactorily by Mlles. Villiers, Rosa and Briot. Mme. Rose-Bell, who appeared last night under the most serious disadvantages, showing unmistakably that her illness had not yet left her, next sings a song which is not particularly striking, and which would be vastly improved if taken in a quieter tempo. The entry of the hunters, who were splendidly costumed, and their chorus is the best thing in the first act. The duet between M. Carrier and Mme. Bell, which is of a higher order of music than what is generally found in the opera bouffe, did not make the effect it deserved last night, principally on account of the indisposition of Mme. Bell and the unconquerable propensity of Carrier to quicken the tempo. This gentleman should study the music of his rôle better, for he missed some of the very best points through manifest inattention, and want of necessary rehearsal. The song of the ‘Atmospheric Lobster,’ sung by the Marquis (Beckers), is a capital specimen of a comic song. Beckers made quite a hit with this part, but he is inclined to exaggerate too much at times. The finale of the first act is very fine, although Carrier should be more careful of his solo in it  Mlle Desclauzas, who looked charming in her handsome costume, and who made the greatest success in the entire opera, sang a very pretty waltz song at the commencement of the second act which was deservedly encored. Then came a trio between her and MM. Petit and Genet in that characteristic bouffe measure, six-eight time. Gabel then appeared as the gendarme, an utterly different character from that in ‘Geneviève.’ His first solo, with the triple roll of the drum, is a very extraordinary affair and amusing also. The succeeding chorus, ‘Fête Nouvelle,’ was spoiled owing to the premature commencement of some of the chorus. The orchestra should pause here after the introduction until the entire body of singers have entered. While the shooting is going on a most brilliant galop is played by the orchestra, and then ciomes an excellent burlesque on Italian opera in the form of a septet with chorus. There is some really fine music in this and the orchestration is magnificent. It would be well if Mr. Stoepel, the admirable leader of the orchestra, would cut the finale short, as after the voices cease there is too much left for the orchestra. The duet between Carrier and Mlle. Desclanzas, ‘La Polonaise et l’Hirondelle,’ was very well sung and was encored. The second act ends with a can-can of a novel character, in which Gabel takes the leading part. He has a very fine solo in the third act, the beginning of which is Midas’ song in ‘Galetea.’ He can make much more out of his part than what was shown at the first representation. Carrier’s best song is his ‘Tyrolienne,’ sung in the prison. It commences like the prayer in Massaniello. Mlle. Desclauzas song, ‘Ri-pi-ti’ and the doctors’ chorus are also very fine. The song is preceded by a very fine clarionet solo. The opera was placed on the stage with a mise en scene and costumes which were splendid. Mlle. Clementine and M. Mussay, as the Marchioness and Duke, were very droll in their characterizations. There is little doubt, after some pruning and improvement, that ‘L’Oeil Crevé’ will have a long run.”

“The musical public of New York was last night introduced to the music Hervé, who, in Paris, shared with Offenbach the popularity of being one of the most admired composers of opera bouffe. In ‘L’Oeil Crevé, produced last night by Mr. Grau’s troupe at the French Theatre, Hervé appears both as librettist and composer. His play is an amusing bit of nonsense about a girl devoted to the rather unfeminine occupations of carpentry and joiner’s work, and in love with a young cabinet maker. Her father, to provide for her a suitable husband, promised her hand to the successful winner at a target match. . . .

“There are a number of other characters in the play more or less prominent.  Rose Bell, as Dindonette, a village maiden, has some pleasing songs to sing, but does not find in the character opportunities commensurate with her abilities. Gabel represents a military officer, sings with a very indifferent voice a grotesque song, and acts as if ever impressed with the conscientious idea that something very funny is expected from him. Beckers represents a pompous nobleman, and has one good characteristic song. Mussay gives a specimen of decrepit servility, and Clementine a glimpse of an exacting wife.

“The music of ‘L’Oeil Crevé’ at once suggests comparisons with that of Offenbach’s operas. Hervé, judging from this work, is inferior to Offenbach in that dashing vivacity, that fluent grace and ease which has made the composer of the ‘Grand Duchess,’ ‘La Périchole’ and ‘Genevieve’ so very popular. But he still can write taking melodies and choruses which rise above the level of opera bouffe. In ‘L’Oeil Crevé’ there are two admirable specimens of chorus-writing in the Hunters’ and the Doctor’s choruses. The solo melodies of the opera are melodious enough to secure frequent encores, and altogether the work as produced last night was received with ample favor by a large and interested audience. Desclauzas certainly carries away the palm as the most attractive personage on the stage during the performance of ‘L’Oeil Crevé;’ and she is well supported by Rose Bell, Carrier and Beckers. The opera is excellently put upon the stage, the scenery and costrumes being unexceptionable. It will be repeated every evening this week, and many of the airs will soon find their way to the music stores, and be heard in parlors and from the brazen throats of brass bands.  Hervé will probably be added to the many mortal names that are born to die, yet during their lives add considerably to the pleasure of their contemporaries.”

“‘L’Oeil Crevé,’ which was produced last night by Mr. Grau, at the French Theater, is the only work by Hervé which has thus far been presented in America. It is like all the rest of the bouffe class in its general character—the music light, the words arrant nonsense, the plot preposterous, and the action and situations so incongruous as it is possible to make them. The story of the oeil crevé is too absurd to be sketched in a sober synopsis. . . .All the principal parts were well acted. Mlle. Desclauzas looked charming, and was full of vivacity; Mme. Rose Bell was a fascinating peasant girl, and Mlle. Clementine made a very lively and humorous Marchioness. M. Gabel has an important part, which does not, however, afford opportunities for so much of his peculiar outré humor as the audience expected to see; and although he made many capital points, we cannot help pronouncing his performance a disappointment. Carrier, Beckers, Pettit, and M. Genet as a fussy Bailiff were all good.

“The music is decidedly poor. It has less merit and less liveliness than Offenbach’s and very little of it is destined for popularity. There is rather a sprightly rondo for three female voices in the first scene, ‘Qu’ils sont gentile;’ two choruses of the bowmen are effective; and Alexandrivore has a romance, ‘A mes regards voulez’ in which there is some real sentiment, although the refrain is loaded with a horrid Swiss yodel, but the most elaborate airs are labored and uninspired, and all lack fluency.”

“The second representation of ‘L’Oeile Crevé’ showed many maked improvements over the first night. The choruses were firmer and given with admirable dash and spirit, and some of the characters were greatly improved. Desclauzas confirmed the favorable impressions she produced on Monday evening, and looked, sung and acted charmingly. Owing to the severe illness of Mme. Rose Bell, Mlle. Gueretti sang the rôle of Dindonette at a short notice. She made a favorable début in the character, considering the short time she had to prepare for it.”

“A second performance of this opera at the French Theatre last night brought out in bolder light its many attractive features. The choruses were admirably given, and reflected great credit on the efficient band of men singers in Mr. Grau’s company. Rose-Bell was sick, and her part was taken by Mme Gueretti, a most pleasing artist, who should be more often heard in prominent parts. The amusing and quaint rondo in praise of carpentry, as sung by Desclauzas, is one of the most attractive features of the opera.”

“Mr. Grau’s French company has just gotten a handsome success.

“It’s difficult to pass a firm judgment on the first hearing of a lyric work and under the immediate influence of the bravos which greeted it. The spontaneous enthusiasm of the spectators obscures, more or less, the path of the critic.

“We can testify nevertheless at this moment that M. Hervé’s very eccentric work gave great pleasure and appears destined for a long career. The libretto, a bit sacrificed, in all these plots, to the demands of the music, is a series of scenes droll enough by themselves and the acting of the artists makes them worth even more. Mme Rose Bell, whose return the public welcomed warmly, is a most affable Dindonette [goose]. Although this role may be very much below the level of her talent and importance, and in spite of visible traces of her recent indisposition,  the great artist acted and sang with as much sentiment as if it had been a creation of the first order. Mme Desclauzas is altogether simply enchanting; she personifies better than anyone the elevated love of which the heart knows only two attachments: cabinetmaking and M. Ernest. Mme Clémentine played the vaporous marquise with great verve; she was truly comical; the audience also applauded her vigorously.

“M. Carrier is a very amusing Alexandrivore, and above all a very beautiful singer. M. Beckers is a true fossilized marquis of the old order and M. Mussay made his highness the duke of En-face a kind of well-accentuated dolt. M. Génot, the good bailiff, and Petit, the enamored of Fleur-de-Noblesse, make you think of those Colins and Brid’oisons that you meet in the virtuous operas of the last century. The policeman Gérome (perhaps a bit of a relative to the gendarme Pitou) didn’t have to do anything more than to borrow the traits of Gabel in order to meet with due honor. The public always repays with interest the old debts of gratitude towards artists who knew how to find the road to favor.

“Mm. Charrière, Chopin, Lefèvre, Brag, Mmes Villiers, Briot and Rosa in the little roles, extended the general success.

“Let’s say summarily for today that the music is truly remarkable. The aria of Dindonette, the cavatina of Fleur-de-Noblesse, the duet of Carrier with Mme Rose Belle, the comic verses of the gendarme will soon become popular. We should also mention the beautiful entering chorus of the hunters; it’s a piece which has a real value and wouldn’t take away the beauty of a more serious work.

“The chorus went along well, you felt that a capable impetus was given to them by a skilled master. The orchestra did its duty and M. Stoepel can congratulate the virtuosos who obeyed his commanding baton so well, above all the clarinet solo. There are some very rich details in the orchestration which need to be heard several times. The overture and the lovely galop motif in the second act were carried off energetically.

“In sum, as much as one can judge it at one and the same moment, Hervé’s music has a general stamp of superiority and melody that surpass by far the value of the words.

“The motifs are a bit too shortened perhaps and have also the appearance of a quadrille that gives in gaiety what it lacks in depth.

“The sets are charming; the one in the second act is cheerful, well laid out, well lit, and frames magnificently the pretty costumes of the archers and the gentle peasants whose fresh appearance and provocative smiles enliven this semi-feudal and semi-rural tableau. The mise-en-scène proves that our directors, MM. Juignet and Rousseau, aren’t sleeping when it’s a question of setting out to conquer this golden fleece that the directors call a hit.

“We wish for M. Grau that L’Oeil Crevé follows the fate of its predecessor Genviève de Brabant and makes him, like that legendary heroine, collect hundreds of handsome receipts.”

“It will be conceded that it is no easy task to burlesque opera buffe. The Worrell Sisters endeavored to do so and failed. M. Herve has, however, made the experiment, and succeeded. ‘L’Oeil Crevé’ is weaker than ‘Genevieve de Brabant,’ and, in fact, weaker than any of Offenbach’s works; but it is filled with all the little contrivances which the king of the Bouffes Parisiens has made so popular. The dialogue is certainly more absurd than anything that ever came from the immodest brains of Messrs. Meilhac and Halevy. ‘L’Oeil Crevé’ first saw the light in October of last year, at the Folies-Dramatique, in Paris, a locality for which it was well suited, and where it obtained great success. We can believe that the manner of production by Mr. Grau is better than it was in Paris, for in the French metropolis opera buffe occupies a different position to what it does here. It is not considered the best form of musical work. Italian opera, French grand opera, and opera comique outrank it. In New-York we have nothing but opera bouffe and negro minstrelsy—a difference after all more in the manner of cork than anything else. Mr. Grau has spared no expense in putting a work upon the stage which we think will not long retain it. Opera bouffe has, it seems, had its day—a long and prosperous one, but exhaustive. No sort of economy has been exercised in the manner of its production, and now any prudence in this direction will be regarded as parsimony. ‘Genevieve de Brabant’ was a model of stage sumptuousness and liberal management. So also is La Perichole at Pike’s. In Herve’s work there is not the same opportunity, but everything has been done by Mr. Grau that was possible, and this means a great deal. The same care bestowed on a better class of work would, we think insure an equally good remunerative result, perhaps better. The dresses of the archers (they are bowmen, not cross-bowmen, as described—there is not a cross-bow among them) and the peasants are particularly good. The leading characters are, of course, well provided for. And of leading characters there is no end. The composer, who is also the author of the libretto, seems to have studied literature in a lunatic asylum, and to have made the most of the individualities he found there. Of plot there is absolutely none. The skeleton of the mosquito is colossal in comparison with the slight structure which supports this opera. Nevertheless, there is a good deal of business and action, and the scenes are cheerful and picturesque. We can not say the same for the scenery, which is stiff. What Herve lacks in constructiveness he makes up for in the maddest riot of words ever listened to by a sane audience. And writing nonsense, evidently from sheer disposition, he has often dropped upon the queerest conceits. Thus, while the heroine is about to flee, she is enjoined by her intended ‘to pack her trunks, and to take some stockings, some crockery, a little bed, a mattress, and half a leg of mutton;’ then there is a wonderful romanza called the atmospheric lobster, which tells a direful story at the expense of the lobster—who was consumed (as he was atmospheric perhaps because he was light.) Some of the couplets are incomprehensible, such, for instance, as the following: ‘Beautiful Andalusian, who on the green sward exercisest, bewitchingly, thy thigh thy calf; that work is incomplete. Cease, my beauty, thy game of ogling; as for thy Bolero, Rococo, at Chaillot!’ The refrain of Gerome’s air is careless and warlike: ‘A thousand cannons, a hundred bayonets, twenty-three cans, one hundred corks! Let us sing the praise of glory, but, after drinking. The gullet before the laurel. For that sort of thing isn’t altogether roses. Before thinking of the bivouac let us moisten our stomachs!’ The final chorus shows that the composer and author did all these things in a spirit of parody, not unmixed with sarcasm. ‘Charming public, excuse our extravagance; mi, si mi, mi la mi, mi sol si ré do si la! Every day around us; is not everything madness?’ The translations are from the published book, and they are always prudent. We may add that there are no positive indecencies in the narrative, but many double-entendres in the dialogue.

The music is pretty but common-place. It lacks the vivacity of Offenbach, but is more carefully prepared. The encores and even the applause were scarce. Of the cast, Mlle. Desclauzas made the best impression; she is pretty and sings without affectation. Mme. Rose-Bell has not the opportunity in this opera that she had in ‘Genevieve,’ and labored with her pieces. The same remark applies to M. Carrier. The part of Gérome was played by M. Gabel, who was quick and effective in all the business of the stage, and again proved that he is an artist capable of individualizing any rôle. The chorus and orchestra (under the direction of Mr. Robt. Stoepel) were both admirable. ‘L’Oeil Crevé’ did not create a sensation, but its reception was sufficient to justify its maintenance on the bills until further notice.”

After only a few days, the Herald says that Hervé’s opera is “too heavy, too much Hervé to enjoy what is termed a long run” (Compare with review on 01/12/69).