Emily Soldene benefit on Wednesday evening. 

Plot synopsis. 

“An English version of Offenbach’s very newest opera, called ‘Madame l’Archiduc,’ was represented at the Lyceum Theatre last evening. This work was played for the first time in Paris about eight weeks ago, and in the brief period of two months the management of the Soldene Troupe secured a piano score, had it arranged for orchestra, and caused the libretto to be translated. About eight days ago the rôles were distributed, and last night, as mentioned above, the libretto and the music were made known to the public. The performance would have done credit to everybody concerned had it been prefaced by a dozen rehearsals; under the circumstances its briskness and smoothness were really remarkable. It is agreeable to say that it was successful, for so large an audience as the announcement of the recital of ‘Madame l’Archiduc’ brought together, and so much laughter and applause as it called forth, have not for a long while been seen or heard at the Lyceum. We have no intention of reviewing the piece act by act. Its story appeared in these columns Sunday, and its recapitulation on the stage may be characterized as reminding one vaguely of that of ‘La Périchole.’ That an adaptation based upon a full French acting copy would show that the authors deserve a good deal more praise than can be awarded them after a hearing of the English setting of their principal ideas we do not for an instant doubt. But it is only fair to say that the incidents in ‘Madame l’Archiduc’ are cleverly connected and that many of them are decidedly amusing, even as presented at the Lyceum. The music, in which the charm of the work dwells, is thoroughly Offenbachian. It has not the distinction of Lecocq’s—we leave aside the question of orchestration, for Offenbach is not responsible for that of ‘Madame l’Archiduc’ as we are privileged to listen to it—nor is it impressed with any evidence of originality, but it is graceful, flowing and vivacious, and much less noisy than many of his earlier scores. There is nothing, it should be noted, very sentimental in the new opera bouffe, but it abounds in merry couplets, to the piquant themes of which the words lend the significance one expects in achievements of this sort. Opera bouffe, we may here observe, comes decidedly nearer to the truth of nature than compositions of the higher order, and the text and notes, united, are intended to possess a meaning such as more ambitious composers than either Offenbach or Lecocq do not usually trouble themselves about attaining. In ‘Mme. l’Archiduc’ these highly expressive passages are numerous, and the eloquence imparted to them by clever singing and—in some cases—by clever acting, has capital results in respect of entertaining the spectators. The whole company are concerned in the new piece. Miss Emily Soldene has a rôle in which the chances to sing and dress are plentiful. Mr. Beverley has a part to which he is unusually well-fitted, and Mr. Marshall, who personates The Archduke, turns his opportunities to such advantage, that hilarity prevails from the moment of his entrance to that of his leave-taking. The remaining personages of importance are assigned to Misses Robson, Vesey, and Roberts, and to Mr. Charles, and there is the familiar background of pretty faces and forms, and bright costumes. Although ‘Madame l’Archiduc’ is to have but four additional recitals, we may have occasion to revert to its excellences with greater minuteness than is now possible. We hope, if we do, that we shall not have to mention, as at present, that at two or three points of the opera the language and situations are suggestive to absolute nastiness. The fact may not have been apparent at a hurried rehearsal, but it was quite clear yesterday, and ‘Madame l’Archiduc’ can dispense with the few lines we refer to, in our judgment, without at all shortening its career. We remind the reader that the stay of Miss Soldene and her associates in this City end with this week.”

“An opera bouffe, entitled ‘Madame L’Archiduc,’ was brought out last evening at the Lyceum Theatre by the English company playing there. The music, what little there is of it, is by Offenbach. We are not aware who has the discredit of the libretto. Like most of the English versions of opera bouffe, the light and somewhat graceful veil of the French language being thrown aside, the play left to be presented in all its bare and odious vulgarity, unredeemed by that grace of merely adroit suggestion of wickedness which is the slight homage that the French actors pay to decency.

We have neither the intention nor the disposition to detail the plot of the latest effort of Gallic ribaldry. It turns wholly on licentious situations and incidents that are as little fit for a public print as for the stage. Nor has it that wit that sometimes has served to lift equally objectionable works out of the mire. Happily its career is to be a short one, as with the present week the season of opera bouffe is to be brought to a close.”

“’Madame L’Archiduc,’ Offenbach’s latest opera bouffe, or rather the English version of that work, was produced at the Lyceum Theatre last evening. The story is simple enough [14-line plot synopsis follows]. A plot of this kind affords so many opportunities for legitimate burlesque writing and acting, that it is difficult to understand why it should be spoiled by indecency. And yet this was the case at the Lyceum Theatre last night. The music was bright, sparkling and melodious; the story was interesting, and the whole performance wonderfully smooth for a first night; but all these excellences could scarcely compensate for the annoyance of decent persons, who were compelled either to openly leave the theatre, or by their presence tacitly to approve of the coarsest gestures and innuendos. It is high time that there should be plain speaking on this subject. There are in ‘Madame L’Archiduc’ (as performed last night) certain passages which no decent woman and few men could witness without a blush. Miss Soldene is greatly mistaken if she thinks that coarseness is a substitute for wit, or that an open disregard of ordinary propriety will ensure the filling of her treasury. There is everybody knows a certain class in every large city which supports exhibitions of this kind, but to gain that support it is necessary to drive the respectable part of the community from the doors. How long would the Lyceum Theatre keep its doors open under these conditions?

Miss Soldene is a good singer, a clever actress and a woman of fine presence. She is supported by a company generally good, and, in many respects, excellent. ‘Madame L’Archiduc,’ freed from its grossness, is an opera well adapted to the capacities of the troupe, and there is, therefore, absolutely no excuse for the indecencies at present contained in it.

For the rest we can only say that the opera was a complete success. There is a charm in Offenbach’s name apparently which renders failure impossible. Miss Soldene has plenty to do and does it well. Some of the songs given to her, notably one at the end of the second act, will become very popular. Mr. Beverley as Giletti acted and sang with spirit, and Mr. Marshall was very funny as the Grand Duke. Miss Robeson was also acceptable as Fortunato, a captain of dragoons. The scenery was good and the costumes magnificent, and as we have already hinted the performance was, under the circumstances, exceptionally smooth. This is the last week of Miss Soldene’s engagement.”

“The fertile brain of Offenbach, which has given to the world such a vast quantity of sparkling music, is becoming exhausted as far as originality is concerned. He finds himself compelled to fall back upon his old works for materials for new ones. Such was the case in ‘La Princesse de Trébizonde’ and was shown very plainly last night in the first representation in this country of his latest opera, ‘Madame L’Archiduc.’ It is so full of reminiscences of ‘La Grande Duchesse’ and ‘La belle Hélène’ that one would be inclined to think that the scissors had been actively employed in its composition. Yet there is one taking quality about Offenbach’s music at all times, it always fits exactly the wild nonsense of the librettist. We have already given a sketch of the Munchausen plot on which the opera is built. The first performance last evening at the Lyceum Theatre attracted a very large audience, many musical and dramatic celebrities in art being present, the beautiful Mrs. Rousby occupying one of the boxes. The opera was placed on the stage in the most lavish manner, scenery, dresses and appointments giving evidence of liberality on the part of the management. Miss Emily Soldene, in the title rôle, created a more favorable impression than in any of her previous essays in the opéra bouffe line. In the taking song of the last act, in which Mme. Judic set the Parisians in ecstasies, Miss Soldene brought down the house. She is a more accomplished vocalist than the opéra bouffe stage can generally boast of, and her acting is characterized by hearty jollity and grace. Miss Robson was a very fascinating Captain Fortunato and Mr. Marshall made a decided hit as the Archduke, a character evidently modelled on that of General Boum. There were many very coarse and indelicate expressions retained in the English version which might be omitted without injury to future representations of the opera. Notwithstanding the positive merits, vocally and dramatically, of the Soldene troupe, the works of the French opéra bouffe stage cannot successfully be interpreted in any language but the original. Then there are cockneyisms in the present version, which, however they may be well adapted for London, will not find favor in New York. The chorus and orchestra were admirable and reflected much credit on the leader.”

“Miss Emily Soldene’s engagement is drawing to a close. It will end with the week. Its termination is signalized by the production of an opera bouffe, lately new in Paris and never before given in America—the ‘Madame L’Archiduc’ of M. Offenbach. This was produced on Tuesday evening, and it met with considerable favor. It is sprightly, funny and coarse. The incidents occur in the imaginary domain of the Archduke Ernesto Quierto, in Italy. The first of these is the marriage of Marietta and Gilletti, at an Italian inn—and with this the farcical play is merrily opened [synopsis follows]. These incidents, which, it will be perceived, hover upon the verge of an indelicate episode,--are displayed in rapid movement, and with frequent sparkling melody, in the best manner of the versatile M. Offenbach. The piece has been neatly mounted at the Lyceum Theater, and Miss Emily Soldene makes a buxom appearance as Marietta, and sings ‘[illegible]’ and other songs, in a merry, tantalizing way, and with good musical execution. There is the leer of the satyr all through this work, and Miss Soldene and her stage companions take no pains to conceal it. Mr. Beverley, Mr. Marshall, and Miss Robeson, as Gilletti, the Archduke, and Fortunato, cooperate cleverly with Miss Soldene and altogether the piece is done with more talent and vim, and less taste and refinement, than it deserves.”

“”Madame L’Archiduc,’ Offenbach’s new opera-bouffe, which was presented for the first time on Tuesday, Dec. 29, as rendered by the Soldene Troupe, at the Lyceum Theatre, cannot lay claim, musically speaking, to much commendation for the form in which it was presented on this occasion, and it was made only too apparent that there was the want of a correct musical adaptation. Enough is shown, however, to make it evident that the opera is written in the true Offenbachian style, and is strongly reminiscent of old favorites. That there are light, sparkling, taking melodies in it, well suited to the popular ear, is demonstrated; but we should prefer having it in its original French form before passing upon it as a musical production of M. Offenbach, or at least until a more exacting rendition of the opera is given. The story, of which a resume has already been published in The Clipper, offers opportunities for the most amusing situations, and the comicalities and absurdities of the opera were so skillfully presented that laughter and applause rewarded every effort of the clever artists of this company. That there should be a careful revision of the story was most apparent, for the opera at two or three of the situations goes to an indecent extreme, both in language and suggestion, and could undoubtedly be rendered much more acceptable by an excision of these objectionable features. Miss Soldene, who had plentiful opportunities in it to display a rich wardrobe, threw into her characterization all the chic and abandon of the French school, and gave a clever vocalization to the sparkling numbers which fell to her share. She was ably seconded by Mr. Beverley in a part to which he was well fitted; Mr. Marshall, a most clever comedian, who gave one of the best impersonations of the evening; Mr. Charles, the Misses Robson, Vesey and Roberts, and a carefully drilled chorus of auxiliaries, including a host of pretty faces and forms rather liberally displayed. The company was fully represented in the cast, which we append [lists cast]."