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
Status:
Published
Last Updated:
3 February 2025
“’Le Petit Faust,’ the opera bouffe upon which the reputation of Hervé is founded, was represented at the Olympic Theatre last evening. The work is exceedingly tuneful, and the treatment of the melodies so clever as to produce results altogether differing from those wrought by the coarser handling of Offenbach. It may be inferred from this that the demands of the opera are unusually great. They were met, yesterday, in a most satisfactory manner by Mlle. Aimée, Mlle. Bonelli, and M. Juteau, and responded to with tolerable efficiency by the chorus and orchestra. Though Mlle. Aimée has not yet made the rôle of Mephisto so indisputably her own as, for instance, that of la Périchole, she brings to its assumption as much experience and finesse as it can bear. Nothing can be more expressive and significant than the lady’s singing in all the operas she has rendered familiar; and no one will be surprised to hear that the words in which Faust’s improvised servant defines his occupations on earth, and the sentimental verses in which the course of love is likened to that of the seasons, were freighted, thanks to the eloquence of the artist’s delivery and the charm of her voice, with the full eloquence Hervé could have hoped for. Both numbers were repeated. Mlle. Bonelli, as Marguerite, succeeded better in ingratiating herself with the audience than on any other occasion of the season. Mlle. Bonelli sings nicely, and acts with spirit; her first air and the duet with Faust, in act the second, were redemanded, with a peremptoriness admitting of no refusal. M. Juteau personated Faust with the redundance of stage-business we have so often had to lay to his charge, but with undeniable effect. Concerning the other parts, we need but say that they were filled by [see above]. M. Lécuyer wore the uniform of Valentine, and M. Marcas supplied a capital picture of the coachman. The numerous comical incidents of ‘Le Petit Faust’ elicited a good deal of laughter. There is no necessity to enumerate them, for M. Hervé’s work has had many had many representations at the Grand Opera-house two years ago, and was done, in English, some weeks before the original version was produced in this City.”
“Although brought out at the end of the week and intended only as a preparatory bonne bouche for ‘Les Cent Vierges,’ which will be the feature of Monday’s bill, ‘Le Petit Faust’ proved successful enough last night, in a popular sense of the word, to warrant many more representations of it. It opened a season once before at another theatre in this city and enjoyed a long run. The music is not as ambitious in character as ‘L’Oeil Crevé,’ Chilpéric,’ or other works of the composer, but it has sufficient sparkle and ‘go’ in its melodies, and here and there may be found some pretty, ingenious effects in instrumentation. The soldiers’ chorus of Gounod is neatly travestied, as is also the old men’s chorus of the Kermesse. Marguerite’s first song, ‘Fleur de Candeur,’ with its Tyrolienne refrain, might be sung by other than opéra bouffe artists without detracting from their dignity. ‘Je suis Méphisto’ is a rather mixed affair in a musical sense, but Mephisto’s song in the second act, ‘Un prince des plus vaillants’ is one of those light, catching melodies that are sure to please. In the same scene occurs Faust’s dashing air, ‘Oh! je suis un fameux,’ of which a good, reliable tenor could make a great deal. The most brilliant part of the opera is the succeeding waltz, with the variations on the ‘Carnival de Venise, which were beyond the capacity of Mlle. Aimée’s voice. The most popular number in the opera is the Tyrolienne ‘Liebe Freundin’ sung by Mephisto, Faust and Marguerite. It was redemanded three times last evening. The cast was the following [see above]. Mlle. Aimée seemed to put aside much of the rollicking gayety and animal spirits that enter so largely into her characterization, or rather to have lent them for the occasion to Marguerite, who certainly did not lose one of those suggestive points so plentiful in the rôle. In the singing line Mlle. Bonelli was not equally successful. Her voice is too much of the mosaic order, each note seeming to be a distinct register in itself. Mlle. Aimée’s voice showed the effect of extreme fatigue, and M. Juteau was hoarse, and all but broke down in the second act. M. Von Ghele, the chef d’orchestre, should take more pains with his subordinates, for they gave evidence of hasty, shipshod rehearsals. It is, perhaps, too much to expect opéra bouffe to undergo some slight purifying process in the dialogue; but at least some expressions and actions might be expunged without injury to the work. There is a limit even to the sphere of opéra bouffe.”
“…’Le Petit Faust,’ which proved to be one of the most enjoyable performances which the troupe has yet given. Mlle. Aimée looked charmingly as Mephisto, and sang the numbers allotted to her with spirit, whilst her acting was characterized by verve and a delicious abandon. Mons. Juteau appeared as Faust, and his excellent tenor voice was heard to great advantage. Mlle. Bonelli was quite satisfactory as Marguerite, and the balance of the cast was acceptably rendered.”