French Opera Bouffe: Fleur de Thé

“Although many entertained the opinion that the days of opera bouffe in New York had passed away, Mlle. Aimée has nevertheless shown what energy, judicious management and genuine merit can accomplish. The season under her auspices has so far been comparatively successful, the performances being in most instances worthy the liberal patronage bestowed upon them. But it is to Aimée’s individual efforts that the credit is really due, for, however good some of the members of the company may be, she, after all, sustained the burden on her shoulders. To be sure the limited dimensions of the little theatre prevented the display of elaborate mise en scène, but that which was lacking in general appointments was fully compensated for by the artistic impersonations of Aimée herself. She is beyond question the most finished opéra bouffe artist on the stage, combining, as she does, all the elements requisite for a proper representation of that peculiar school. In ‘Le Pont de Soupirs,’ ‘Barbe Bleue,’ ‘Fleur de Thé,’ and ‘La Périchole’—all of which have been given this week—Aimée has added largely to her popularity. Her sparkling humor, graceful abandon and capital vocalization failed not to create a very pleasing impression, and while she enters into all her favorite roles with characteristic vim and sprightliness, she entirely discards those reckless flourishes which spoiled the performances of her predecessors. In a word, Mlle. Aimée is a thorough artist, and as such has well merited the substantial recognition which has been accorded her. As Cesarine last night, in ‘Fleur de Thé,’she acquitted herself with her wonted ability, and elicited hearty applause from a very appreciative assemblage. She was pretty well sustained throughout, and, although some imperfections could be detected, the performance gave general satisfaction.”