French Theatre: Geneviève de Brabant

“The sparkling opera of ‘Genevieve de Brabant’ which achieved such a splendid run at this house last year with Mme. Rose Bell and Mlle. Desclauzas in the rôles of Drogan and the fair Genévieve, respectively, was received here last evening with all its original splendors, with Mrs. Howard Paul as Drogan and Mlle. Guerretti as Genevieve. It is almost needless to say that each sustained their part admirably, and were frequently encored during the evening. Messrs. Duchesne, Francis and Genot were also entrusted with leading parts in the piece, and each acquitted himself very handsomely. The choruses also are excellent, and such being the case, the representation last evening could hardly have been otherwise than a brilliant success. The opera is placed upon the stage with all the accessories of its beautiful original scenery and costumes, and was enjoyed last evening by quite a large audience.”

“A singular and phenomenal performance is the Drogan of Mrs. Howard Paul in ‘Geneviève de Brabant,’ as produced last night at the French theatre by the Opera Bouffe troupe of Byrne and Starr. The lady was welcomed, on her appearance on the stage, in the most cordial manner, reviving, as she did, pleasant recollections of Rose Bell in the same part. But when she opened her mouth, instead of the expected mezzo soprano tones there came forth solid tenor notes, clear, cutting and trenchant. It was at first thought only the recitative would be sung this way, but the sparkling little aria that follows it was given in the same manner; and throughout the entire work Mrs. Paul maintained the tenor register, singing the music an octave lower than it was sung by her predecessor. The effect of this was to give the opera two leading tenor parts, and no prima donna; for the part of Geneviève, though containing some pretty melodies, pleasantly sung last night by Madame Guerretti, is not prominent enough to balance the others.

“As a tenor, Mrs. Paul possesses unusual capabilities. Her voice is amazingly powerful and is heard in the most elaborate concerted piece, cutting clearly through all the other voices. In tone it is hard and not over-musical. Of course, it is really a low alto, but it certainly has a tenor rather than an alto quality. In such passages as the quartet of hunters in the last act, the intended effect of the piece is quite lost by this singular transposition. In other cases it seems consistent and agreeable; but we do not think that Mrs. Paul’s Drogan will make our public forget the Drogan of Rose Bell. At the same time, the extraordinary fact of a woman’s being leading tenor in a long opera is encouraging to the friends of Woman’s Rights, and suggests a new ‘sphere’ for the exercise of feminine talent. We can imagine Brignoli and Lefranc taking prompt measures to organize a ‘Tenors’ Protective Association’ as a precaution against the encroachments on the vested rights of the opposite sex. Indeed Mrs. Paul sings tenor so much better than most second-rate men singers, that there is just cause for alarm on their part.

“M. Duchesne was the Charles Martel, and gave his opening song, about les pauvres barrasins, with a refreshing abundance of bombastic gesticulation. M. Girrebeuck would have pleased more as Sifroy if the performance of Carrier were not so pleasantly remembered. He sang well, however; acted without vulgarity, and gave the absurd song about tea in especially admirable style. Edgard took the ridiculous part of Pitou and was as funny as possible, winning a double encore for the duet of gens d’armes, in which he was ably assisted by Genot, whose voice is one of the best in the company. The trio of Tyroleans was marred by the fact that the soprano always took a certain recurring high note below pitch, and the part of Brigitte was attempted by a lady quite incompetent for the requirements of the music.

“If in the solo parts it was possible to make comparisons rather favorable to the original representation by the Grau troupe, not a word can be said against the chorus, the costumes and the general mounting of the piece. The original scenery was used, the cancan was danced, and the graceful frivolity of the music was as enjoyable as ever. It would be expedient to shorten the opera by the excision of some of the dialogue, as otherwise it is not concluded til near midnight.

“‘Genevieve’ will be repeated every evening this week, excepting Saturday. Every musical amateur should embrace the opportunity of hearing a woman sing tenor better than most men, for this is a phenomenon not often met with. Indeed, so low and powerful are Mrs. Paul’s notes that we presume she will soon appear as a basso, and show Formes and Herrmanns that one of the fair sex can be a Bertram or a Mephistopheles as well as they.”

“Offenbach’s opera of ‘Genevieve de Brabant’ was revived at the Theatre Francais last evening in the presence of an audience respectable in appearance and in numbers. The recollection of a protracted run employed by this work would make iteration of its story as unwelcome to the reader as that of other matter was to Falstaff of old. It is Offenbach’s most successful effort as a vehicle for spectacular display, and his least worthy in respect of musical ideas and their elaboration. The present performance does not quite attain to the perfection of that still remembered, but it is decidedly pleasant to the eye and ear. The characters are acted with spirit, the melodies are agreeably sung, and the—scenes the most beautiful ever shown in the City, and the costumes are many and bright. Mrs. Howard Paul’s rendering of Drogan is intelligent, vivacious and hearty, and quite as satisfactory as that of la Grande Duchesse. Mrs. Paul’s command of the French language is so complete that no lack of words hampers the action for a moment, while no continuous mispronunciation brings French gestures and an English accent into collision. The music is of course faultlessly sung. Mme. Gueretti represents Genevieve, and, save in appearance, does not suffer by comparison with her predecessor. Sifroy is acted by M. Girrebeuck, the effect of whose singing will be heightened by a greater familiarity with the comic resources, slender though they are, of the part. M. Duchesne is a boisterous Charles Martel; M. Francis a sufficiently idiotic Narcisse; and M. Edgard a Pitou whose merit does not reside simply in the possession of ugliness, but in an appreciation of drollery, and in the power of its vocal and facial expression by the means resorted to by a thoroughly proficient comedian. MM. Moreau and Genot, and Mlle. Briot assume the remaining rôles, and a strong and pretty well disciplined chorus executes the concerted pieces. We need but add that last evening the most familiar numbers of the opera were cordially applauded, the serenade, the railway chorus, and the song of the gendarmes being repeated in deference to an expressed delight, which seemed to promise the renewal of ‘Genevieve de Brabant’s’ theatrical life, for a few nights, at all events.”

“Perilous times have come. Opera bouffe is in an imminent and deadly breach. It is understood that the Starr & Byrne management has retired, and for the last few nights the artists themselves have been carrying on the enterprise.”

“Opera Bouffe came to grief at the French Theatre the past week. On Feb. 7^th ‘Genevieve de Brabant’ was produced, with Mrs. Howard Paul as Drogan, in which she was successful. The attendance was fair. On Tuesday evening no performance was given at all, Messrs. Starr and Byrne, the managers, having given up the ghost. On Wednesday evening the company played on the commonwealth plan, which was repeated up to Saturday evening, when the French dramatic company had possession.”