French Opera Bouffe: La Grande duchesse de Gérolstein

Event Information

Manager / Director:
John F. [manager] Cole

Price: $.50 general admission; $1 balcony; $1.50 parquet; $.30 family circle; $8 private box for 4; $15 proscenium box for 6

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
7 June 2023

Performance Date(s) and Time(s)

19 Oct 1870, 8:00 PM
20 Oct 1870, 8:00 PM
21 Oct 1870, 8:00 PM
22 Oct 1870, 8:00 PM

Program Details

Silly and Montaland alternated in the role of La Grande Duchesse.

Antony sang General Boum on 10/19 and 10/20 and Duchesne on 10/21 (as per the New York Clipper). It is unclear who took the role on 10/22.

Performers and/or Works Performed

Grande duchesse de Gérolstein, La

Composer(s): Offenbach

Text Author: Halévy, Meilhac

Participants: Celine Montaland (role: La Grande Duchesse); Constant Gausins (role: Fritz); Paul Hittemans (role: Prince Paul); Suzanne [soprano] Thal (role: Wanda); Monsieur [baritone] Antony (role: General Boum); Monsieur [bass] Varlet (role: Baron Puck); Monsieur [baritone] Duchesne (role: General Boum); Lea Silly (role: La Grande Duchesse)

Citations

Advertisement: New-York Times, 16 October 1870, 7.

Review: New York Herald, 20 October 1870, 7.

“The hackneyed, much abused, danced-to-death old Duchess of Gerolstein, after being fiddled and whistled out of existence over a year ago, turned up last night at the Grand Opera House. Curiosity attracted a large assemblage to see the spectre [sic] abroad from her discordant grave. She was very much wrinkled and careworn and seemed anxious to beat a retreat. The hollow sound of her voice put fire into the pen of the recording angel, and her misdeeds were dotted down by double entry. Mlle. Silly, in the title rôle, was not successful. She was either timid or incompetent, or both. Lacking in spirit and artistic finish, to say nothing of the entire absence of vocal ability, she personated the Duchess as a consumptive female epicure, and was totally devoid of that clever abandon and characteristic sprightliness which, as rendered some time ago, made the character so favorably received. To be sure the production is in itself ridiculous; but, if presented at all, talent must be brought into requisition to justify its representation. If Mlle. Silly would perform the part she must shake off the lethargic feeling which last night seemed to have taken possession of her. Although she occasionally displayed some appreciation of the part, and may train herself to the assumed dignity attaching to it, she was evidently not at home last night. Moreover, the poor woman was thrust forward in evident hurry, and without proper rehearsals, as the prompter’s good voice frequently informed the audience. Fritz, Prince Paul and Baron Gray had fair representatives, while General Boum did wonders with his eyes and feet, his voice now and then interrupting the harmony which sometimes pleased the audience. Mlle. Silly may improve before the ‘Grand Duchess’ is finally interred. Her rendering of ‘Dites lui’ was very fair—in fact the only tid-bit that was favorably recognized. The chorus and ballet seemed to be appreciated. But the ‘Duchess of Gerolstein’ should be allowed to remain in her tomb. Enough for the day is the evil thereof.”

Review: New York Post, 20 October 1870, 2.

“Throughout the many phases of opera bouffe in this city ‘La Grande Duchesse’ has always preserved its popularity, and though its airs may have become so hackneyed as to make one almost ashamed to speak of them admiringly, yet whenever the opera is well played, it is sure to draw delighted audiences. This was the case last evening. The Grand Opera House was filled to repletion with an assemblage anxious to hear the bewitching melodies of ‘La Duchesse,’ as sung by Lea Silly and her coadjutors. Her impersonation of the character was somewhat different from those we have previously had here, and will certainly compare advantageously with any of them. She prunes it of the indelicacies which have always been objectionable to many auditors, and (it were almost needless to add) lends it her own natural vivacity and good humor. Her by-play is original and pleasing. The drinking song of the last act, which Mlle. Silly sang with great dash and effect, received two hearty and deserved encores. Her costume throughout was in great taste, and in the last act she wore a very novel dress, so arranged as to form a continuous series of French tri-colors.

M. Gausins, as Fritz, though not as droll as some we have had, represented the awkward soldier with much success. His battle song in the second act was enthusiastically encored. M. Hittemans as Prince Paul and M. Antony as General Boum, were comical.

Altogether ‘La Grande Duchesse’ adds a brilliant attraction to the Grand Opera House, and though the performance last night was not quite so full of fun as when we last saw it on the same boards, yet a subsequent performance will probably be improved in this respect; but much praise is due to the Grande Duchesse in the hands of Mlle. Lea Silly.”

Review: New York Sun, 20 October 1870, 2.

“The ‘Grand Duchess’ was again put upon the stage of the Grand Opera House last evening. Her reign in the present instance is not likely to be a long or an auspicious one.

This is an opera that every one has heard. There is scarcely a little ragamuffin about the streets who cannot sing, after the fashion, all the principal airs. When an opera comes to be as well known as that every man, woman, and child in the house becomes a critic. The very gallery boys sit in cold and relentless judgement upon everything that takes place. If Mlle. Silly sings false they know it in a moment, for have they not whistled the air a thousand times, and whistled in tune? If Mons. Gausins sings through his nose they all appreciate the fact. If the chorus is out of tune and out of time their ears are: not slow to detect it.

If Baron Puck’s fun is heavy as lead, and Gen. Boum makes them regret Duchesne, who did the part so well, they take note of that also. If the opera were a new one the vocal deficiencies of the company would not so easily be detected by a general audience; but an old opera like the ‘Grand Duchess’ gives opportunity for comparison with previous companies, and lays bare every defect.

The present company cannot stand so trying a test. This opera has been done here so often and so very well, with such admirable humor, such careful attention to every detail, and such excellent comic acting, that the present revival of it seems doubly tame and ineffective. Mlle. Silly may once have had a voice, but now it is lamentably wanting in every good quality. Some few low notes are left, but the upper register is broken and unreliable, and her singing at times is painfully weak and bad. Tostée used to make good her defects of voice by her skill as an actress, but this Mlle. Silly has not the power to do. Her Duchesse is anything but the sprightly and vivacious bit of wickedness and [illegible] that she should be. Mr. Hitteman’s Prince Paul is the only member of the company who seems to possess a decided talent as a comedian. None of them are singers, judged by any fair musical standard. In fact, without going further into detail, we regret to say that the performance of last evening failed to furnish a peg on which to hang a phrase of commendation. It was, on the whole, exceedingly poor. The audience, a large one—felt it to be so; and the curtain fell at the end of the acts on a dull, cold, and unsympathetic house.”

Review: New-York Times, 20 October 1870, 5.

“Burlesque sometimes comes very near to tragedy and tragedy to burlesque, and the name of the ‘Grande Duchesse’ conjures up, just now at least, as many images of the former as of the latter. We cannot but remember in hearing the title of her frolic highness of Gerolstein, that the little principalities Paris laughed at so long ago are now, welded as it were into a solid mass, battering at her walls. The long account of contempt and ridicule is to be closed, it would seem, in slaughter and destruction. General Boum has appeared, not in parti-colored panache, surmounting absurd habiliments and bestraddling his sword like a hobby-horse, but in helmet of steel and the fighting trim below that presages, not laughter, but blood and tears. And the theatres are closed where strutted and bellowed his libelous representatives, and the Boulevards are dark and silent that so short a time ago echoed to the flippant marches and songs of his companions.

The ‘Grande Duchesse’ is popular in New-York, and doubtless long will be. It was the first opera bouffe heard here, and happily or not, being particularly well rendered, and its coarseness on the whole imperfectly understood, its favorable impression was deep and lasting. Apart from the merits of particular representations of it, the intrinsic excellence of the work as a stage composition is undeniable. The airs and concerted pieces are easy and fluent, the action is brisk and varied, the dialogue, when not too gross to disgust, is clever and sprightly, and there is an adroit management of climax and a tact of juxtaposition in the scenes and people that always please, although spectators may not precisely know the reason why.

M. Offenbach’s masterpiece may be regarded as the typical or representative work of its class, and what may be said of it is applicable, in a general way, to all its tribe. Briefly-speaking, and in plain terms, it is a degradation to the stage, and an offense to all delicate and self-respecting persons. The action hinges upon the shameful amours of the heroine, a modern Messalina, whose strong and unbridled passions lead her to seek out, and bestow her favors upon, the common soldiers of her army. This is the gist of the thing unequivocally set forth. Nor is there set forth in the text any palliation in the way of regret or stings of conscience for the ignoble delights thus indulged in. The Grande Duchesse never tries, as in real life most erring people occasionally do, to abandon her evil ways. The passion which she debases by calling it love, is as unblushing as it is monotonous in its expression. No gleam of better feeling, no perception of the value of womanly purity, ever once crosses her mind. No better angel ever whispers to her as to Shakespeare’s unstable hero,

“Rouse thyself; and this weak, wanton Cupid

Shall, like a dewdrop from a lion’s mane,

Be shook to air.”

All is consistently vile and evenly meretricious. Hence the influence of the piece must, necessarily, be bad. It is true that many do not understand the language, and that the music glazes over some of the coarseness for those who do. Still, in all seriousness, there is no course open to a writer who has any regard for the honor of the theatre or any hope for, its future, but to express, without equivocation, the opinions we have imperfectly conveyed. The artistic features of the representation may, of course, be separately considered; and this duty is imposed by a degree of public interest in such entertainments which the Press may regret but cannot well ignore.

The ‘Grande Duchess’ now presented, then, certainly lacks the dash and ensemble of that with which New-York was first made familiar. At the same time, it has artistic merits of its own entitled to distinct recognition. Mlle. Lea Silly lacks vocal power for so exacting a part in so large a house. She is, however, so clever, and withal so interesting an actress, that after a brief acquaintance with it her performance becomes, histrionically speaking, extremely attractive. M. Gausins seems also to lack voice for Fritz. His organ is thin and dry, and its usually accurate intonation hardly makes up for its deficiency in sweetness and body. Yet he, also, is a neat and finished actor, and his shortcomings are forgiven in view of his laborious efforts to please. M. Antony hardly makes us forget Duchesne in General Boum, and manages, notwithstanding, to make the character sufficiently amusing and energetic. M. Hittemans is very good in Prince Paul, and MM. Varlet and Valter are acceptable in Barons Puck and Grog. Of the remaining personages there is no need to make especial mention. The chorus is numerous and loud, and so is the band; and the vocal weakness of the principals is systematically made up for by the blare of wind instruments and the crash of drums. A new feature was introduced last night in the ballet of the second act, and was witnessed by the audience with their usual exemplary patience.”

Review: New York Clipper, 29 October 1870, 238.

“Mlle. Silly failed to give satisfaction in her representation of the Grand Duchess. Her voice gave greater evidence than ever of its hard use, and with the exception of ‘Dites lui,’ which she sang in a charming manner, and was deservedly encored, she may be said to have failed in both singing and acting. In short, the entire performance—if we except Mr. Hittemans’ personation of Prince Paul, which was artistic and pleasing, and M. Gausins’ Fritz, which was acceptable—was far below any performance we have hitherto had of this opera. The performance did not commence until nearly a quarter of nine, and the introduction of a very long ballet divertissement in the second act served to prolong the performance to a very unseasonable hour. The American public of late have been surfeited with ballet, and we think if they were allowed a period of rest, at some future time the appetite for this style of amusement would become keener. On Saturday, Mlle. Celine Montaland appeared as the Grand Duchess, and Mons. Duchesne, the original representative of General Boum in this country, appeared in that character, he having made his first appearance with this troupe on Oct. 21st. La Montaland infused a good deal of life into the character of the Duchess and acted it well, with dash and abandon. She sang the music very well, considering the nervousness naturally attendant upon her first appearance in this role. Duchesne, as Boum, was excellent and fully sustained the high reputation he had won in days past. The performance of this opera bouffe is now thoroughly enjoyable, and on the above evening it was performed to a very good sized audience. It will be repeated several times during the present week, with Mlles. Silly and Montaland alternately in the role of the Duchess.”

Review: New York Clipper, 29 October 1870, 238.

“Carlo Patti, the conductor of opera bouffe at the Grand Opera House, on Saturday evening, Oct. 22d, after the performance, was presented with a magnificent baton by James Fisk, Jr. It is made of ebony, heavily mounted at either end with gold, which extends up the staff to a distance of some six inches, and in the form of a roll of music, and bears an inscription as follows:—‘Presented to Carlo Patti by James Fisk, Jr.’ It was manufactured by Messrs. Bishop & Rein, jewelers, under the Fifth Avenue Hotel, and cost, we are told, $500.”