French Opera Bouffe: Le Pont des soupirs

“Brightest, gayest, liveliest among the opéra bouffe companies that have been naturalized among us during the past few years is Aimée’s sprightly troupe at Lina Edwin’s. ‘Le Pont des Soupirs,’ too, gives it an admirable opportunity of displaying its strength. The music, though perhaps at times reminding one of older and better known operas, is the very incarnation of the fun and spirit and exuberant gayety that constitute the grand merit of Offenbach as a composer. Take for example the petit coin scene in the second act. What can be imagined more pretty and sparkling than the air and where else could be find such exquisitely absurd drollery—drollery, too, which never outrages good taste—as the dance which worthily finishes it. Aimée is, of course, the strongest feature of the company. She seems especially designed by nature for a great opéra bouffe artist. She throws into these brilliant trifles a grace and vitality of spirit such as charm and carry away with a restless spell the minds of her audience. She has everything in her favor—great beauty, a face that passes with ease from sentiment into mirth, a pleasing voice, thoroughly trained and kept well under control, a perfect familiarity with the stage and its business, and no mean skill in that most wonderful of all arts, the art of dressing. Her company begins now to show traces, too, of thorough and rigorous drill. There are no slips; the piece runs through its brilliant course with the regularity and ‘naturalness’ of a machine. Great taste has been displayed in the ‘make-up’ of the scene. The horologe scene, to which we have already referred, is a marvel of good taste; dresses and furniture harmonize in tints and even shape with wonderful perfection, and the slightness and uncostliness of the materials employed add to the charm. Of ‘Le Pont des Soupirs’ we have previously spoken at length. We can only say further that, like all other operas that are worth anything, it grows upon the ear at every repetition, and one likes it better every time he hears it. With all who have any taste for or appreciation of the bright frivolities of opéra bouffe Mlle. Aimée’s efforts entitle her to the most enthusiastic applause.”

“The little theatre which, in time past, has been associated with minstrel [illegible] by Messrs. Kelly & Leon and burlesque quips by Miss Lina Edwin, is now beneath the dulcet sway of Mlle. Aimée of the Opera Bouffe. The banners of this fair warbler hang forth at 720 Broadway, and are inscribed with the suggestive names of Offenbach and ‘Le Pont des Soupirs.’ It is a small place, unpretentious in character, and so situated as to be convenient of access to the general public; and it is therefore exactly suitable for the kind of entertainment to which it is now devoted. There was far too much emphasis placed on this kind of trifling, when it first came into vogue. In fact it was preposterously overrated and ran after, and this ‘violent commencement’ has since been naturally followed by ‘an answerable sequestration.’ Opera Bouffe does very well as an incidental and subsidiary ingredient in the feast of public amusements. It is a condiment and not a substantial joint; and to that estate, in the regular progress of events, it has at length arrived. Mlle. Aimée offers it under appropriate circumstances as well as in a suitable place. Her stage-manager is M. A. Valter, and her orchestra is under the leadership of M. Bessieres. Her company includes MM. Duchesne, Edgard, Valter, F. Noe, Mlle. Dorlia, Mlle. Vandam, and a numerous auxiliar corps. ‘Le Pont des Soupirs’ has been brought out with good scenery, painted by Mr. H. W. Calyo, and its representations have attracted a succession of tolerably numerous audiences. It is a work in the customary and well known manner of Offenbach. That is, it is made of sprightly melodies—in the spirit of which there is an occasional touch of sentimentality,--and of the frequent and vociferous chorus. The libretto was furnished by MM. Cremieux and L. Halevy. Its [illegible], as usual, is indelicate, and the indelicacy, as usual, is made a matter for careless laughter and [illegible]. Virtue, in most of these facetious Gallic productions that set farce to music, wears the guise of a ridiculous booby; and vice is a vision of delight. It may be said, however, that the general feebleness and the pervading tone of grotesque pleasantry render this sort of satire quite harmless. What most persons see in the Opera Bouffe is melodious frivolity and arrant nonsense; and these may be found in ‘Le Pont des Soupirs.’ The real humor is furnished by Duchesne and Edgard— the one by his robust affectation of the sincere emotions; the other by his semi sluggish, Sancho Panza like drollery. Both these players, it is needless to say, are delightfully crisp and spontaneously graceful in method. Mlle. Aimée, as the wife of the Doge, Cornarina, executes what is called ‘the crazy song,’ with a very ludicrous affectation of ‘[illegible] madness laughing wild and severest woe.’ [Illegible] risibility is stirred, also, by the astonishing snore of M. Duchesne, who certainly deserves the belt as the champion snorer. The chief features of the cast are these [see above for roles performed].”