Venue(s):
Olympic Theatre
Proprietor / Lessee:
Samuel Colville
James E. [manager, proprietor] Hayes
Manager / Director:
Samuel Colville
James E. [manager, proprietor] Hayes
Conductor(s):
Charles [conductor] Van Ghel
Price: $1; $.50-$1 extra reserved; $.50 family circle; $10, $15, $18 boxes
Event Type:
Opera
Status:
Published
Last Updated:
6 October 2024
“The troupe of French artists were heartily received last evening upon their return to the Olympic, and rendered ‘La Belle Helene’ with as great vivacity as usual. Mlle. Aimée and M. Juteau were both in good voice, the lady in particular, and their parts in the opera were played in a manner that secured them a number of recalls.
“Our appreciation of Mlle. Aimée as a dramatic artist has so often been expressed that repetition is hardly called for. She is certainly one of the most finished artists on the stage, in her line of character, and is fortunate in having during the present season the support of M. Juteau, the new tenor, who, without being remarkable as a singer, is a most admirable comedian, and gives vivacity to every opera in which he takes part.”
“The Aimée Opera Bouffe Company began last night a new series of performances at the Olympic Theatre. The entertainment was witnessed by a large audience. ‘La Belle Helene,’ the opera bouffe which was presented on this occasion, is one of the most objectionable of all these Parisian inspirations; nevertheless, its representation last night met the enthusiastic approval of the spectators. Mlle. Aimée as La Belle Helene, M. Juteau as Paris, and M. Duchesne as Agamemnon, were in nowise less favorably received than on former occasions.”
“Mlle. Aimée opened another season of opéra bouffe last evening at the Olympic Theatre with ‘La Belle Hélène’ and, in spite of the sudden and severe cold snap, the house was fairly full. The music of the opera is, of course, pretty well known by reputation to lovers of Offenbach; but it is now several years since the work was last produced here on the stage, and the exceptionally prurient and salacious passages which make it specially interesting and remarkable had probably passed out of the memory of most of those who witnessed the representation of last evening. No one, of course, expects to find high moral teaching or very decent models of dress or deportment in a bouffe opéra. But the second act in ‘La Belle Hélène,’ as it is now rendered, surpasses in daring and in decorum and positive viciousness anything that can be remembered even in the ‘Grande Duchesse.’ Mlle. Aimée contrives in her ‘make-up’ to subtly combine the coquettish charms of the artful concealment of her beauty with the dazzling splendors of its open display. She is literally half nude; two of her limbs are wholly uncovered, while the others are but imperfectly draped. It is not, however, alone in this that the piece is most indecent. The dialogue is shamelessly coarse, and no gesture or grimace that can add to the effect of a singularly disgusting and repulsive scene is spared. Yet, with all this, the strength of the representation lies in the finish and force of the acting of Mlle. Aimée, though M. Juteau and M. Duchesne deserve praise for the meaning and interest they manage to infuse into their parts. To any one, indeed, who understands French and has no scruples about the decorum of what he sees, ‘La Belle Hélène’ will give a very pleasant evening. The mounting of the piece is very fair, and the tableaux are skillfully and tastefully arranged.”
“Mlle. Aimée and her troupe repossessed the stage of the Olympic, on Monday evening, and have there given three performances of the well-known comic and indelicate opera of ‘La Belle Helene.’ These have been seen by full houses. The piece is one that deserves, and has received, emphatic condemnation for its vicious spirit and licentious suggestions. We do not know that repetition would impart stronger emphasis to familiar censure. ‘La Belle Helene’ has been ably presented at the Olympic Theater, and certain of its rollicking melodies have been heard with critical satisfaction. Mlle. Aimée is entirely successful—physically, and as to wantonness of spirit and saucy dash of manners—in depicting the frolicsome condition of sensuality. Her bold beauty befits the fair Helen of burlesque, and her animal spirits, drollery, and mischief give zest to the personation. It is conceivable that an artist so clever might be in better [illegible] than this; but we presume she likes her pursuit and the kind of praise it elicits; and, if so, she becomes as worthy of it as it is of her.”
“The opera was mounted with freshly painted scenes, and the costumes were rich, elegant and appropriate. Although the work possesses fewer popular numbers than Offenbach’s later operas, it is bright and sparkling throughout, and the company did full justice to both the story and the music. M’lle. Aimée portrayed Helene in a vivacious and fascinating manner, acting with much chic and abandon, winning lavish applause and several encores for her artistic rendering of her principal songs. M’lle. Roland was seen to good advantage as Orestes. Mons. Juteau acted Paris with much animation, and sang the music charmingly and correctly, winning an encore for his description of the contest of the goddesses on Mount Ida. M. Duchesne made a dignified Agamemnon, and, as usual, was artistic and correct. M. Nardin as Menelaus was excellent. M. Lecuyer did not give satisfaction as Calchas. M. Marcas as Ajax the first was very comical, and the balance of the cast was satisfactorily rendered. The chorus was fully up to the mark, and the orchestra was superior to that during their previous season.”