Aimée Opera Bouffe: La Périchole; Marie Aimée Farewell Appearance

“On Saturday evening, for the benefit of the French national subscription fund, Mlle. Aimée and her company of opera bouffe artists gave a representation of ‘La Perichole’ at the Academy of Music, before a very large assembly. The opera is too well known and liked to need more than a passing word of praise. The language of it is so sparkling, and the plot of it is so well constructed, that ‘La Perichole’ deserves to be called an attractive dramatic work, aside from its merits as music. The music, we may add, is so good as to cause a regret that its author’s talent has not been devoted to compositions of a more ambitious and enduring character. The acting of Mlle. Aimée and Messrs. Edgard and Duchesne, on Saturday evening, was superb. It is a pity that some local celebrities, who think themselves accomplished actors, will not aim to be, in some measure, as worthy of the name as these waifs from the Parisian theatre—who spent years in careful preparation before they were allowed to attempt a leading part. It is a greater pity that the New-York public and New-York managers are satisfied with anything less nearly perfect. Mlle. Aimée was in good voice, and she sang with such care and spirit as to earn several recalls. M. Berton, the tenor, catching enthusiasm from the numerous assemblage and the patriotic occasion, made unusual and felicitous exertions, and won a great deal of favor. The receipts of money at the box office were large. The distribution of parts in ‘La Perichole’ was as follows [see above].”

“On Saturday evening ‘La Perichole’ was given at the Academy, in accordance with the previous announcement, with Mlle. Aimée and her company of opera bouffe singers, for the benefit of the French Liberation Fund. ‘La Perichole’ is so well known for its brilliancy in text, situations and music, that it is hardly worth while to speak of it; but we may say of the performance that Mlle. Aimée acted and sang with great spirit, and won empathetic approbation. M. Edgard as Don Pedro, and M. Duchesne as Don Andres, also, more than once created something like enthusiasm in the audience. The part of Piquillo was not sung by M. Noe, as had been announced, but by M. Berton, late of the New Orleans opera company—a tenor with a good voice and pleasing manner—who gave the liveliest satisfaction.”