Aimée Opera bouffe: Geneviève de Brabant

Event Information

Venue(s):
Olympic Theatre

Proprietor / Lessee:
Samuel Colville
James E. [manager, proprietor] Hayes

Manager / Director:
Samuel Colville
James E. [manager, proprietor] Hayes
Carlo A. Chizzola

Conductor(s):
Charles [conductor] Van Ghel

Price: $1; $.50-$1 extra reserved; $.50 family circle; $10, $15, $18 boxes

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
3 August 2024

Performance Date(s) and Time(s)

24 Oct 1872, 8:00 PM
25 Oct 1872, 8:00 PM
26 Oct 1872, 8:00 PM

Program Details

Mlle. Bonelli was able to perform the role of Genevieve only on the first night.

Performers and/or Works Performed

1)
aka Genevieve de Brabant; Geneviève of Brabant; Genevieve of Brabant; Genevieve d'Brabant
Composer(s): Offenbach
Text Author: Jaime, Etienne (Victor)
Participants:  Aimée Opera Bouffe Company;  Ã‰mile [bass] Gabel (role: (Pitou));  Monsieur [baritone] Duchesne (role: (Charles Martel));  Marie Aimée (role: (Drogan));  Albert [tenor] Julien (role: (Golo));  Ad. [tenor] Berthon (role: (Narcisse));  [tenor] Juteau (role: (Sifroy));  Mlle. [soprano] Vandame (role: (Brigitte));  Mlle. [soprano] Bonelli (role: (Genevieve));  [tenor] Marcas (role: (Burgomaster));  Mlle. [soprano] Rolland (role: (Genevieve))

Citations

1)
Advertisement: New York Herald, 24 October 1872, 9.
2)
Review: New-York Daily Tribune, 25 October 1872, 8.

“’Genevieve de Brabant’ was brought forward at the Olympic Theater last night. New and good scenery gave it a better setting than it deserves, and Mlle. Aimee, Mlle. Bonelli, Mlle. Roland, Messrs. Gabel, Duchesne, Juteau, Lecuyer, and others, united in giving it a competent interpretation. The comic duet was, as in earlier times, tumultuously applauded; and the serenade—a tender, plaintive, passionate strain of melody—was again heard with pleasure. It may not be amiss to remark that the comic duet has long since been worn thread bare by repetition, and that a single rendering of it, in the course of one evening, is as much as persons possessing the average amount of human endurance ought to be expected to bear. With reference to the serenade, that is the gem of the opera, and almost the only feature which redeems it from the utter degradation of wanton, obtrusive nastiness. So far as subject is concerned, ‘Genevieve de Brabant’ wallows in the mire. We need not, however, seek the gratitude of the Olympic Theater—and of that silent moralist, the learned and reticent De Vivo—by dwelling upon the point. A word of welcome may be fitly spoken for the recurrence of the interesting and suggestive melody which relieves so much aggressive coarseness. The theater was crowded. ‘Genevieve de Brabant,’ we are sorry to say, will be repeated.”

3)
Review: New-York Times, 25 October 1872, 1.

“The crowded condition of the Olympic Theatre last evening afforded convincing proof that the excellences of Offenbach’s ‘Geneviève de Brabant,’ though out of sight for some years, were not yet out of mind. These excellences are to be sought in the music of the score, which is always tuneful, and in some instances decidedly melodious, and in the opportunities the composer’s librettists have provided for a liberal display of scenery and dresses. Several of the number of Geneviève are, indeed, worth remembering. The pretty serenade in act the first; the vivacious couplets in the second act, following the transformation of the little pastry cook into a gallant page; and the Tyrolienne, at a later stage of proceedings, are always worth listening to, while the remainder of the songs can at least be commended as the very reverse of dull. The story to which the notes are wedded is not so deserving of praise; the best that can be said of it is that its incidents are sufficiently varied to allow the painter’s brush and the costumer’s taste the finest play, and that it embodies the episode in which the gendarmes are concerned—an episode whereof the influence, here, as in Europe, has invariably secured the success of the opera. From the applause bestowed at this pointof the performance, as well as from the earlier and the later demonstrations of pleasure, it was evident that the effect of the representation last night was highly gratifying. Without at all underestimating the impression of the comic duet, in which the sweets and hardships of a soldier’s life are commented upon by the pursuers of Geneviève, Mlle. Aimée’s sprightliness and accomplishments were strongest, we think, in producing that result. The lady brings to Drogan, as to her better-known characters, the spell of a pretty face and form, the charm of a fresh voice, and an earnestness and vivacity, the potency of which the slender importance of a part, or the fatigue consequent upon previous exertions never lessens. From the opening rondo, in which the qualities of the wonderful pie are set forth, to the verses accompanying the gift—or rather the intended gift, as careless stage management prevented its consummation yesterday—of Geneviève’s changed locks to her recreant husband, Mlle. Aimée acted with unflagging spirit, and sang with corresponding energy. To her work and that of M. Juteau, the audience was constrained to look for the pleasure to be derived from the principal vocal music of ‘Geneviève.’ Of M. Juteau, it can be mentioned at once that his picture of Sifroy was very comical, and that his numerous songs were delivered with vim and correctness. All the performers but these were ill from the capricious weather. Mlle. Bonelli, who personated Geneviève, revealed herself an intelligent and graceful actress, but was, as to voice, hors de combat. M. Duchesne, as Charles Martel, was courageous enough to attempt to do his whole duty, but was too hoarse to be harmonious. Even the sweetness of M. Gabel’s tone had suffered, and a sudden disposition to choke, ascribed, out of a desire to acknowledge the kind reception accorded him, to emotion instead of phlegm, well-nigh interfered with the duo so impatiently awaited. Without going into details, made impossible by the late hour at which the representation was ended, we must note that this passage of Geneviève provoked as much uproarious laughter as when it was first listened to. M. Gabel, who was the original Pitou, in Paris as in New-York, assumed that rôle last evening, and his grimaces, his bearing, and his words—perhaps not worthy of imitation but certainly inimitable—elicited merriment, which only seemed to weary after the duet had been done thrice. Throughout the fourth tableau, M. Gabel, who had for an associate M. Lécuyer, is clever and amusing. He should, however, be reminded—and it is unnecessary to refer the ‘creator’ of Pitou to Shakespeare as authority—that ‘those that play the clowns should speak no more than is set down for them.’ His remarks to the audience on the occasion we write of were in the worst taste imaginable. In addition to the artists whose names we have given, Mlle. Rolland is to be complimented for her efforts not only to picture Brigette, but also to sing Mlle. Bonelli’s lines, whenever her share of the business allowed her to do so. The choruses in Geneviève were as telling as could be desired, and the bacchacanalian songs and dances as suggestive of jollity and activity. Mlle. Aimée’s dresses were very fine. The entertainment, which was cheered on by much generous applause, will demand more minute consideration when a few supplementary rehearsals will have compressed it and smoothed out a roughness often apparent.”

4)
Review: New York Post, 25 October 1872, 2.

“’Genevieve de Brabant’ was produced last night at the Olympic Theatre to an audience that filled the building to its utmost capacity. The opera is so vile in its plot and its text that it does not admit of explanation to the lady by your side who is happily ignorant of the French language, and it is well that the meaning of some of the passages remain ‘hidden’ to many who understand the words spoken and the foreign idiom. Indeed, the critic cannot, with any regard to decency, state otherwise than in a general way the grounds of his disgust at the performance. But ‘Genevieve de Brabant’ is popular, for it abounds in Offenbachian songs, choruses and catches that are familiar to all who have ears, and the beautiful serenade and the droll duet of the gendarmes will always afford delight and amusement. Mdlle. Aimée and Mdlle. Bonelli appeared in it last night, and, with the efficient co-operation of MM. Juteau, Gabel and Duchesne, wrought up the audience to enthusiasm. Beyond the fact that the applause that greeted M. Gabel threatened to become a riot, there is nothing else to be said of the performance, unless it be the suggestion that the Tyrolean air should be left out altogether or else committed to a better trio. The regular patrons of the Olympic will be gratified to hear that the drop-curtain came to grief last night, apparently beyond hope of repair.”

5)
Review: New York Herald, 25 October 1872, 7.

“The opéra bouffe company at the Olympic Theatre revived ‘Geneviève de Brabant’ last night, but the performance as a whole was not successful. Opéra bouffe is nothing if not sprightly. Last night it was insipid to a degree it has rarely attained in this city. Aimée as Drogan was under the disadvantage against which she is compelled to struggle in all the parts she essays of singing after other favorites of the French school who made the character when the music of Offenbach was a novelty, and last night she had the additional discouragement of unpromising surroundings. Her inspiration came only at intervals, and she seemed to feel, as was nearly the fact, that she was singing with shadows. M. Juteau as Sifroy was ineffective and without any of the sparkle of the part, and Mlle. Bonelli simply personated Geneviève, not attempting to give the music. The management, acting under the impulse which sometimes inspires the publishers of a young versifier’s effusions to apologize for the want of merit in the verses by urging the youth of the author, asked the kind indulgence of the public on account of the prima donna’s hoarseness. Beginning with the serenade song Mlle. Roland sung much of Bonelli’s part. It would have been better had an inferior singer taken her place altogether, for then the music would not have been divorced from the part, and the awkward expedient which was adopted could have been avoided. Mlle. Roland, though she does not show much power, would have done better in the part than was possible with the double duty she assumed. From these causes the first three acts dragged heavily and closed with the rending of the drop curtain, the only unsteadied and effective part of the performance up to that time. In the fourth act, however, M. Gabel, as the gendarme, attained something very like his former success in the part, and he doubtless would have reached it altogether but for his discouraging surroundings. His acting, and especially his facial contortions, so unlike and yet almost as effective as Ronconi’s, redeemed the opera from downright failure. With a feeble artist as Pitou in the fourth act, it would have been impossible to have carried the performance through with anything like credit to the management, and the disappointment could not have been overruled by the noise of the orchestra or Aimée’s bits of excellent singing.”

6)
Review: New York Clipper, 02 November 1872, 246.

“The opera was well mounted, both as regards scenery and costumes, but the performance was seriously marred by our capricious climate, Aimee and Juteau alone escaping its ill effects. Mlle. Bonelli, cast for Genevieve, was so seriously affected that she could do little more than speak the words of the role, and during the balance of the week Mlle. Rolland filled her place to the best of her ability, although she was somewhat overweighted with the part. Severe criticism under such circumstances would be unjust, and the lady deserves commendation for her efforts. Duchesne, as Charles Martel, was courageous enough to go through his entire role, although the harmony was at times disturbed by his hoarseness. Aimee looked charmingly as Drogan and was costumed with much taste, appearing to better advantage than we have hitherto seen her, especially in the page’s costume. She sang and acted the role with much sprightliness, winning several encores during the evening. Juteau, as Sifroy, was all that could be desired. He invested that character with much humor and his numerous songs were sung with gusto and correctness. M’lle. Vandame, who supplied M’lle. Rolland’s place as Brigette after the first night, was scarcely equal to the demands of that role, being at intervals sadly at fault both in time and tune. Gabel, as the gendarme, was vociferously welcomed as he appeared upon the scene, and the duet with Lecuyer was several times redemanded, although both were suffering from the unpropitious weather. Julien as Golo, Marcus as the Burgmaster, and Berthon as Narcisse, creditably performed their respective characters. The music of the opera is very popular and many of the numbers cling to the memory. Among these we may name the serenade in the first act; the couplets to the pie; the couplets to the chicken; the Tyrolienne; and the gendarme duet. The choruses, many of which are very pleasing, were particularly well rendered.”