Aim�e Opera Bouffe: La Jolie Parfumeuse

Roster.

Includes cast listing.

Arrival of Mlle. Aimée from Havana, where she had been detained by illness.

“The season of opera bouffe at the Lyceum Theatre was last evening entered upon most auspiciously, in presence of a large and fashionable audience. ‘La Jolie Parfumeuse,’ the novelty of the occasion, was performed by Mlle. Aimée, Mlle. Nardynn, and MM. Kolletz, Dubouchet, and Arrigotti, and its recital was attended by every indication of success. ‘La Jolie Parfumeuse’ is one of Offenbach’s latest achievements. It lacks the liberal proportion of easily-remembered tunes by which some of his earlier productions are distinguished, but its music is continually melodious and spirited, and the composer’s treatment of his themes is refined and elaborate, as well as thoroughly effective. An inspiriting finale to the first act, and Rose’s song, ‘A Toulouse,’ are really the only numbers to be cited as remarkably felicitous; it would, however, be unfair to pass judgment upon a score so rich in dainty and harmonious passages from an acknowledgment that all its airs will not impress themselves upon the ear in a single hearing. Then much of the influence which ‘La Jolie Parfumeuse’ exercises upon the spectator is derived from the story of the opera. It would be no light task to rehearse it, and we doubt if the result would repay the labor of summarizing its many incidents. We shall confine ourselves to saying, therefore, that the work under notice is a sketch of the adventure of Mlle. Rose Michon, a young vender of perfumery, who weds a simple lad named Bavolet, whose destruction is plotted by an aged Don Juan named La Cocardière, and who finally foils that ancient reprobate for the behoof of her own husband, whom La Cocardière has sought to lead astray. The idea, it will be seen, is not particularly offensive, but we cannot admit that its development is absolutely exempt from equivocal details. The indelicacy, happily, is rather suggested than presented, and the text at least is free from coarseness. Some of the scenes are in themselves exceedingly droll, and they become very funny, indeed, thanks to the manner in which they are acted. Mlle. Aimée, who has returned from Cuba with, apparently, a renewed supply of voice and spirits, personates Rose Michon. Mlle. Aimée’s pretty face was never more animated than last night. Her eye was never more sparkling and more brimming with mischief, and she certainly never dashed through an evening’s business with greater jollity and vim. Whether art would be the gainer or the loser by the total disappearance of opera bouffe is an open question, but as the genre does exist, it is desirable that we should be acquainted with its best representatives. Mlle. Aimée is undeniably one of these, and in some rôles we do not consider that she has any rival whatever, here or in Europe. She is a finished comédienne as well as a clever songstress, and to an undefinable personal charm and a pleasant voice she adds the magic of a mastery of all the acts by the aid of which comely features and a shapely form can win and hold attention, and captivate a throng of strangers from behind an entrenchment of footlights. Close observation is not necessary to the enjoyment of Mlle. Aimée’s performances, but it surely must add largely to one’s gratification when, as in the case of the artist we now write of, it reveals a multiplicity of nice points, denoting uncommon intelligence, culture, and experience. Mlle. Aimée does something more than commit her lines and notes to memory, for her every word and look have their significance, while each movement is perfect in its fitness, its naturalness, and its grace. As we have said already, no more complete evidence of the lady’s talent has yet been tendered the New-York public than was given yesterday, and its weight was promptly acknowledged. ‘La Jolie Parfumeuse’ passed off amid much hilarity, and Mlle. Aimée had to sing thrice her verses beginning ‘A Toulouse,’ and prefacing a few steps after the fashion of the modern ballet. M. Kolletz did justice to the character of Poirot, and M. Dubouchet drew a very comical picture of La Cocardière, while M. Arrigotti’s song in the second act was redemanded. The performers were summoned before the curtain at the end of each act, and, to sum up the proceedings, the salient traits of the representation were those of an extremely attractive entertainment.”

“Mlle. Aimée is a singer always welcome to that large class who find pleasure in the light and graceful music of French opera bouffe.

These admirers attended last evening in large numbers to witness the performance of their vivacious favorite in a new opera by Offenbach, the produced for the first time in a complete form, entitled ‘La Jolie Parfumeuse.’

The music of this opera is hardly as brilliant or taking as that of ‘La Grande Duchesse,’ ‘Barbe Bleue,’ or several other of the famous and well-worn works of this class, but it is graceful and pleasing. Aimée finds in it a part—that of the ingénue about to be married—in which she appears at her best.

The lover is personated by Mlle. Nardynn, an extremely pretty woman and an excellent actress. Her tall and slender form gave her quite the air of a young lover, and she dressed the part to perfection and sang it well. The only other character of importance was capitally sustained by M. Dubouchet. The plot is not without its spice of wickedness, but it is not by any means as bad as the Brooklyn scandal [a reference to the adultery trial of Henry Ward Beecher], besides being vastly more entertaining. As a whole the performance was a very spirited one, Aimée as usual being the life of it.”

“The Lyceum Theatre, which was lately the scene of the stately performances of Madame Ristori, is now occupied by Mlle. Aimée and her sprightly troupe; and resounds with the strains of merry music and pleasant laughter. The house was filled to its utmost capacity last night, on the occasion of the production of Offenbach’s ‘La Jolie Parfumeuse’ and the whole performance was received with every mark of satisfaction. Mlle. Aimée, as a matter of course, played the principal character, Rose Michon, and acted with all that grace and archness which has made her so great a public favorite. She seems to have gained somewhat in health and spirits from her trip to Havana, and her voice exhibited fewer traces of fatigue. Several of her songs were sung with great spirit, and were repeated in deference to a unanimous call. The plot of the piece is simple, and for an opera bouffe tolerably decent. It is useless, we suppose, to argue that purity and piquancy are not irreconcilable. It is to be feared that the popularity of opera bouffe depends chiefly upon the spice of wickedness with which it is flavored, and the supply will not fail until the demand ceases. The impropriety in ‘La Jolie Parfumeuse’ is not so glaringly offensive as in many other pieces which have met with popular favor, and the opera really has merit apart from its suggested naughtiness. It contains some clever dialogue, and many pretty songs and choruses, most of which are excellently rendered. Mlle. Nardynn and Messieurs Kolletz, Dubouchet and Aringotti shared the honors of the evening with Mlle. Aimée, and there can be no doubt that the performance was successful. Mlle. Aimée, indeed, has rarely appeared in any part better suited to her style, and it is probable that ‘La Jolie Parfumeuse’ will have a long and prosperous run.”

“A crowded audience greeted Mlle. Aimée last night on her return to the metropolitan boards. She appears to have enjoyed her trip and come back in robust health and excellent voice. Offenbach’s clever opéra bouffe ‘La Jolie Parfumeuse’ was chosen for her first appearance. The role of Rose Michon affords the artist the fullest scope for the display of her peculiar gifts, and it is a long time since they were exhibited to better advantage. ‘La Jolie Parfumeuse’ is an exceedingly lively and piquant production, full of that peculiar suggestiveness which is at once the charm of and objection to the opéra bouffe school. It is not much worse nor much better than its fellows. It cannot be recommended for its delicacy; it has all the good and bad points of opéra bouffe, and as these are pretty well known to the public it is needless to discuss them. But for that large class of the community who like the fun and joyous movement of this class of dramatic performance there is a real treat in store. The work is absolutely gemmed with melodies, and, what is better, they fall to the artists most capable of doing them justice. The music runs along like a brook over pebbles, with many a musical ripple caused by the outcropping of pleasing arias. The work was last night produced with completeness for the first time in this country, and its success was pronounced. Many of the numbers were rapturously encored. The division of the company has naturally impaired its force, but all the parts were filled effectively, and we believe some changes in the cast are in contemplation with a view of increasing its strength. The story of ‘La Jolie Parfumeuse’ deals with the adventures of a bridal party, and some of the scenes go to the outer edge—almost to the ‘ragged edge’—of suggestiveness. The audience, as usual, was select and critical; but the way in which the piece was put on the stage left little to carp at. Aimée’s Rose Michon promises to make a great success. It gives her so many splendid opportunities for the display of that characteristic Parisian chic which lends to opéra bouffe half its attractiveness. Her rendering of the song, ‘Y’a des gens qui s’imagin’ bien,’ was very happy, and at once put the audience into good humor. But it was with her song ‘A Toulouse en loulousain’ that she made her great hit. Not satisfied with her response to their encore, the audience insisted that she should sing it the third time, and, although visibly fatigued by the effort, she very good-naturedly acceded to the wishes of the house. Arrigotti, in the character of Germain, the valet, made a very favorable impression and earned a recall by his excellent rendering of the song ‘Perdieu c’est une amiable charge.’ Mlle. Nardynn sang the part of Bavolet with excellent taste, but she scarcely succeeded in extracting from it all the fun it is capable of furnishing. Dubuchet, as La Cocardiere, was funny and sang well, and M. Kolletz’s Poirot was a vigorous and hearty performance. The choruses were very well rendered, and considering the little time available for rehearsal since the arrival of the troupe, it is quite astonishing with what completeness and thoroughness the representation last night was given. As a whole the work made a very favorable impression, and we do not doubt that it will meet with a success. Aimée has certainly added to her impersonations a new and remarkably effective rôle. Her Rose Michon is not destined to disappear; it is by far too hearty and artistic a performance to be easily lost sight of by theatre-goers. If the approval of a first night’s audience can be relied upon as a test of the success of a dramatic production, that of ‘La Jolie Parfumeuse’ is assured.”

“’La Jolie Parfumeuse’ has made a decided impression upon the frequenters of the Lyceum Theatre, and the performance last night attracted an immense audience. Whatever may be thought of the opera on comparison with its predecessors, there is no doubt that Mlle. Aimée has succeeded in rivaling, as Rose Michon, her happiest efforts; and, indeed, in the lady’s whole repertoire we can only cite her portrayal of La Perichole as in any way equal to it as a lyrical or dramatic effort. Nothing more effective or more finished of its kind has ever been seen in the United States, and we can recall no late representation abroad in which the vivacity, the variety and the expressiveness of her personation has been paralleled. The result has insured the run of the piece, and it may possibly keep the boards throughout the season. The general acting, we have only to add, is exceedingly good, and as M. Debeer is likely to appear this week, it will probably be still better in a day or two.”

“Offenbach’s opera-bouffe of ‘La Jolie Parfumeuse’ was produced at the Lyceum Theatre on Wednesday, March 31. The story, which was published in The Clipper shortly after the first production of the opera at the Theatre Renaissance, Paris, in 1873, is the work of MM. Cremieux and Blum, the librettists, who have produced but a slender sketch as the vehicle for the expression of M. Offenbach’s musical ideas, and one which offers the oft-told tale of hindered nuptials and unlawful love, affording opportunities for situations of peculiar suggestiveness that appear to be the attractive feature and essential charm of works of the opera-bouffe school. Lacking delicacy, and verging, in some of the scenes, upon indecency, it yet combines in its composition many of the good and bad points of this class of works, and its story will no doubt meet with a ready acceptance from those who have been appreciative listeners of ‘La Perichole,’ ‘Timbale d’Argent,’ ‘L’Archiduc,’ and others in which we have repeated the interrupted nuptials, the clever, piquant bride, the stupid husband and the old roue. Musically, it is no better nor worse than its predecessors, and it appears to be the same old thread long spun out; the numbers being so strongly reminiscent that hardly any trace of originality can be discovered, but only a clever treatment of old ideas, which are presented with all the sparkle and attractiveness so thoroughly Offenbachian, presenting a work that may prove acceptable, although not satisfying to those who are looking for an evidence of novelty in opera-bouffe. Mlle. Aimee, who assumed the title role, appeared in excellent voice, and has in the part free scope for the display of her ability, of which fact she appears to take full advantage, presenting an exceedingly clever and artistic development of the character, filled with piquancy and that characteristic chic and abandon which give to the impersonation so much attractiveness that she may be said to have found in this role one of her greatest successes. Her rendition of the various numbers was received with the utmost favor by her auditors, and she was the recipient of numerous encores, especially in her song of ‘Toulouse en Toulousaine,’ in which, imitating the provincial accent and peculiarities, she made a decided hit, and was compelled to give several repetitions. The support afforded by the company, which has been considerably impaired in strength by being divided, was scarcely up to the standard; for, outside of M. Dubouchet, who gave a very comical portraiture of the old rake, M. Kolletz and Mlle. Nardynn, who presented a fair interpretation of their characters, there is scarcely anyone worthy of mention; presenting the fact that whatever measure of success the opera may obtain at this house, unless there shall be an immediate strengthening of the company, will be almost solely due to Mlle. Aimee’s efforts in her remarkably effective characterization of Rose Michon, which alone saves the presentation of the work from disapproval, and leaves instead an impression that will act favorably in enabling it to retain the boards for some nights to come. The opera is announced for repetition during each evening of the present week. Appended is the cast [see above].”