French Opera Bouffe: Le Pont des soupirs

Event Information

Venue(s):
Lina Edwin's Theatre

Conductor(s):
[conductor] Bessieres

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
21 October 2023

Performance Date(s) and Time(s)

27 Nov 1871, 8:00 PM
28 Nov 1871, 8:00 PM
29 Nov 1871, 8:00 PM
30 Nov 1871, 8:00 PM
01 Dec 1871, 8:00 PM
02 Dec 1871, 2:00 PM
02 Dec 1871, 8:00 PM

Performers and/or Works Performed

1)
Pont des soupirs, Le
Composer(s): Offenbach
Participants:  French Opera Bouffe Company;  Marie Aimée;  Fernand [tenor] Noe;  J. [mezzo-soprano] Dorita;  Monsieur [tenor] Edgard;  Monsieur [baritone] Duchesne

Citations

1)
Advertisement: New-York Times, 26 November 1871, 7.
2)
Review: New York Herald, 28 November 1871, 10.

“An opera by Offenbach, entirely new to this country, called ‘The Bridge of Sighs,’ was produced at Lina Edwin’s Theatre last evening. The audience filled the little house and was enthusiastic and apparently pleased. The libretto of the opera is by those eminent writers, Messrs. Crémieux and Halévy, and deals with the Venetian subject in this wise: [synopsis follows]. A cancan, of course, ends the opera. The music, as a general thing, is the weakest of all Offenbach’s efforts and is mainly made up of scraps of his other operas, notably, ‘Les Brigands.’ Aimée, Dorita, and Edgard carried off the honors of the evening. Duchesne acted well, but his voice has long since departed to that bourne whence no voice ever returns. The tenor, Noe, may be credited with the same good and bad qualities. Mlle. Aimée certainly did everything in her power to produce the opera in good style, for the costumes were new and exceedingly rich, and the scenery as good as the limited space on the stage would admit. The orchestra and chorus, although necessarily very small, did their work commendably, and M. Bessieres, the leader, is entitled to a word of praise. But the sooner the opera is shelved the better. There are dozens of others in Mlle. Aimée’s repertoire which will take better and secure good houses even in this season of immense competition.”

3)
Review: New-York Times, 28 November 1871, 4.
“Mlle. Aimee brought out at Lina Edwin’s Theatre, last evening, Offenbach’s opera ‘Le Pont des Soupirs.’ The very diverting character of the story, the ear-taking qualities of the music, the capital singing and acting of Mlle. Aimee, and the exhibition of fresh and picturesque scenery and costumes, produced an impression to which oft-repeated applause bore flattering testimony. The story [synopsis follows]. The score is full of vivacious writing, but has few numbers of importance in point of effect, and none to be mentioned beside the composer’s best-known tunes. We shall, however, recur to Offenbach’s share of the performance, and also to the very creditable recital of ‘Le Pont des Soupirs,’ by Mlle. Aimee and her company. The first representation was witnessed by an audience that filled the house, and whose laughter and demonstrations of delight forecast a long run for the novelty.”
4)
Review: New York Sun, 29 November 1871, 2.

“The fair manager takes the principal part and, as usual, charms the audience with her beauty, her tasteful dressing, and her sprightly singing and acting. The music is not much, but is well suited to the laughably absurd character of the opera, and in many bits of it receive the honor of an encore. Mlle. Aimée is supported by Mlle. Dorita, whose superb figure appears to great advantage in her page’s dress, M. Noe, and the handsome tenor, M. Duchesne, the well known Gentilhomme of ‘La Grande Duchesse,’ and the irresistibly funny comedian, M. Edgard. Some beautiful scenery by Calyo, and costumes by Toledo, add to the attractions of the piece, which, it should be said, is quite free from the objectionable features of most of Offenbach’s productions.”