French Opera Bouffe: Les Brigands

“We can chronicle a genuine success at this house, at last, in opéra bouffe. ‘Les Brigands,’ one of the latest and liveliest of Offenbach’s works, was produced for the first time, with all that reckless disregard of expense and embarras de richesse that characterizes Mr. Fisk’s enterprises. The libretto is singularly free from indelicacy, both in the original and the excellent English edition, and the music has what he termed ‘go’ in it, from one end of the opera to the other. There are some of the happiest conceits of the Franco-German composer to be found in it, and some of the weakest efforts too. It is a rollicking scene of brigandism, and its concomitants (for which see any story of the Abruzzi), burlesqued in a side-splitting manner and interwoven with that sparkling champagne music in which Offenbach has no equal. Here comes a long disputed question as to the merits of the two leading composers in opéra bouffe—Offenbach and Hervé. The latter is probably the better musician of the two—that is, in all his works there is a degree of excellence displayed which would grace the comique or grand opera. But he has as much idea of the requirements of the requirements of opéra bouffe as the chairman of a Sixth ward primary has of logarithms, and his L’Oeil Crevé, ‘Chilperic’ and ‘Le Petit Faust’ have and always will prove failures from an abortive effort to unite charming music with ridiculous and trashy libretti. Hervé has got a monomania of writing his own libretti, and Offenbach has secured two of the best dramatic writers in France—Messrs. Meilhac and Halevy—to furnish a groundwork for his rattling music. The company last night, with the exception of Mlle. Montaland, who has neither voice nor style, acquitted themselves admirably, and Mlle. Persini proved herself the most talented opéra bouffe artist at present on our boards. The dialogue requires considerable cutting to give the sparkle of the music more effect. Mr. Carlo Patti, the leader of the orchestra, and Mr. Cole, who brought out the opera, deserve the highest praise for the success which attended its first representation. The house was crowded from parquet to dome. We would earnestly recommend a change from Mlle. Montaland to some artist who can sing and act.”

“The entire range of art does not offer a wider contrast than that presented in two performances which have taken place in this city within a few days. On Sunday evening the Liederkranz Society sang for the first time in America Liszt’s oratorio, ‘St. Elizabeth;’ and last night the company of French singers at the Grand Opera House produced Offenbach’s musical burlesque, ‘Les Brigands.’

“Between these two works, of course, no comparison can be made. They stand, as it were, at the opposite poles of art. The one is the earnest effort of a great musical master who aims to produce effects and develop theories scarcely with the scope of the science he employs, and which are therefore inherently unattainable. The other is the catch-penny device of a musical writer who only aims to tickle the ear, or to excite by grotesque combinations surprise and wonder. Liszt’s work may be incomprehensible, but Offenbach’s, musically speaking, is deteriorating in its results.

“Not that there is anything indecent in ‘Les Brigands.’ As a bit of fun it is quite innocuous. The objections made to ‘Genevieve de Brabant,’ and even to the ‘Grande Duchesse,’ cannot be urged against it. The plot details the exploits of a crew of knavish but really very fascinating brigands of the ‘Fra Diavolo’ order, who rob a diplomatic courier, and with the papers obtained in his valise pass themselves off as Italian princes and noblemen. There is a vast amount of dialogue in the piece, some of which is made quite amusing by the acting of the comedians Hitteman and Varlet. The music is in Offenbach’s lightest school. Many of the melodies are pleasant to hear and easy to retain. There is a chorus sung in whispers, and a very absurd burlesque of a party of carbineers, who in grotesque phrases announce that they are toujours trop tard to render any assistance to travellers who may be attacked by bandits. Throughout the piece there is a constant effort at caricature, in music as well as in action, costume and incident; and all this puerile though pretty nonsense is set off by stage decorations of unusual splendor and gaudiness. Over a hundred persons are engaged in the performance of this work. They seem to have skill, tact, and no inconsiderable amount of French grace and vivacity. One of the party, Mlle. Persini, has, in addition to these qualities, a pleasing, fluent voice.” [Discussion of Liszt’s work follows]

“The last, if not the best, work of Offenbach, received a suitable welcome from an overwhelming house at the Grand Opera-house, last night. ‘The Brigands’ has little of the wealth of melody common to most of the handiwork of the composer, and which, if sometimes cheap and tawdry, always pleases the popular ear. Yet this fresh work is, in some particulars, better than either of the familiar ones from the same hand. It is more original, more various and more coherent in design and execution than, for example, the ‘Grand Duchesse,’ or ‘Barbe Bleue.’ Greeted by a highly-interested house, ‘The Brigands’ had the advantage of the stage treatment to which the audiences of this house are well accustomed. It was liberally mounted, that is to say, and all that could be done by painters, machinists and property men was freely undertaken in aid of the dramatic and musical features of the entertainment. The chief parts were sustained by Mlles. Montaland and Persini and, although neither lady was in the best voice, received abundant applause. The ‘Laughing Chorus’ had the honor of a double encore. In point of chorus and orchestral handling little was left to desire, and ‘The Brigades’ will doubtless hold the stage for many nights to come.”

“The French opera troupe repeated the new piece last evening with much spirit before a numerous but hardly a brilliant audience. Fashion, unlike empire, refuses to wend her way westward. This does not imply that the public at the Grand Opera is less appreciative of music than that at the Academy; but it is undeniable that in the former locality the French language falls chiefly upon ears innocent of acquaintance with any speech save the more energetic portion of our beloved mother tongue.

“Such being the case, we were agreeably surprised to observe that some passages of the dialogue were received with much evidence of appreciation. The admirable acting of MM. Gausins, Antony and Hittemans was a running commentary on the words, and was as good as the liveliest pantomime. With especial delight did the audience listen to the irresistible soliloquy in which the treasurer of the Duke of Mantua confesses his peculations upon the funds of his employer, and his wasting of the same upon wine and women.

The music of ‘Les Brigands’ is very trifling, but sufficiently pleasing. A whispering chorus, and an excellent laughing chorus, in which Mme. Montaland brought down the house by her vivacity and naturalness, help to make up the list of attractions. It is unexpectedly delightful to find that we are afflicted but for a brief season with incidental ballet—called incidental, doubtless, because it drops into a place like a stone from the clouds without the slightest connection or propriety. It is also pleasant to add that ‘Les Brigands’ is not objectionable on the score of indecency. Its fun is innocent, its music cheerful, the actors excellent, and we hail it as a happy release from the dreary idiocy of burlesque, and the agonizing contortions of ballet.”

Mlle. Silly will perform the role of Fiorella tonight (Saturday), instead of Mlle. Montaland.

“This admirable opera bouffe artiste, who for a long time disputed the palm of sovereignty with Hortense Schneider in Paris, made a decided hit last night at the Erie establishment in ‘Les Brigands.’ This opera, although not to be compared with any of Offenbach’s earlier works in point of freshness of melody and general jollity, is, nevertheless, pleasing and attractive. There is not a dull scene in it from beginning to end. At its first representation and subsequently a most serious drawback to it was the miserable attempt of Mlle. Montaland, who does not possess the first quality of an actress or singer, to fill the leading female rôle. This was happily done away with last night by Mlle. Silly, who, at least, understands what she undertakes in opera bouffe. The contrast between her and her predecessor was so great that the opera seemed to have been presented for the first time. The name of Montaland should be expunged from the company; for we can only account for the poor business done by the present company at this house by the persistent and mistaken efforts of the management to thrust forward such a person in a leading rôle. Mlle. Silly is an artist recognized in Paris, and although her voice is considerably worn, yet she is never otherwise unsatisfactory. With her and Persini there is no fear of ‘Les Brigands,’ and every chance for a long run.”

“’The Brigands,’ the performances of which throughout last week, attracted very large audiences, is to be acted at the Grand Opera-house until further notice. The representation has been much bettered in point of smoothness since Monday evening, and it is simple justice to say that while the very recent Paris rehearsal of the work—the Varieties Theatre was closed by events while Offenbach’s work was in the flood tides of success—excelled that at present to be enjoyed in point of comic strength, the production of the composition here is far more remarkable for completeness of musical interpretation and beauty of stage costume. A change in the distribution of parts last evening introduced Mlle. Silly as Fiorella, until then impersonated by Mlle. Montaland. Mlle. Silly throws into her performance as much spirit and originality as the character she assumes can be freighted with. It is, in fact, a rather a rather colorless role, but earnestness and skill can at least give it an effectiveness which a mere presence on the stage never results in. The pretty opening couplets of Mlle. Silly were repeated last night, and so were the finale of the first act and the laughing chorus.”

“Success has been achieved, apparently, at the Grand Opera House by the production of Offenbach’s opera bouffe, entitled ‘Les Brigands,’ the action, dialogue and music of which are far superior to any in this author’s compositions hitherto produced in this city. The audiences during the entire week have been uniformly large, which attests the strong impression this work has made upon the popular ear. The opera is a clever picture of the humorous adventures of a band of robbers, who, learning that the Duke of Mantua is about to meet his bethrothed, the Princess of Grenada, at an inn on the road between Grenada and Mantua, and there pay her a large sum of money, amounting, in our currency, to some three millions of dollars, disguise themselves as beggars and take possession of the inn, and, after having donned the dresses of the servants, make drunk the very soldiers sent to capture them. There are a great many choruses running through the work, all lively, pleasing specimens of composition. The whispering chorus, towards the close of the first act, which seems to depict the fear of the brigands at hearing the bugles of the approaching soldiers, evidently in search of them, was rapturously encored. The laughing chorus in the second act was likewise enthusiastically re-demanded. We do not claim for Offenbach originality of ideas in his compositions, but he will take a trite theme, and, by his peculiar method of treatment it will often give more pleasure both to ear and eye than the original. Mlle. Persini, who impersonated a young farmer named Frageletto, made a decided hit, and throughout the entire opera received a large share of applause. Mlle. Montaland, as Fiorella, the daughter of the bandit chieftain, looked very charming and sang and acted the role with much spirit. In the laughing chorus she added greatly to its effect by her abandon. Her laugh was both vivacious and infectious. Hittemans, as the secretary to the duke, and Varlet, as a captain of carbineers, were exceedingly humorous and are deserving of high praise. The opera, as a whole, was well performed and elegantly placed on the stage, both as regards scenery and costumes. On Saturday evening Mlle. Silly sang the role of Fiorella with spirit and originality. The opera will be kept upon the boards the present week and probably longer.”