Paris as It Was and as It Is Part 39

I have already mentioned, that, agreeably to M. HAuY'S plan, the blind instruct the clear-sighted; and in this Museum, which is situated _Rue Sainte Avoie, Hotel de Mesme, No. 19_, the former are to be seen directing a cla.s.s of fifty youths, whom they instruct in every branch before-mentioned, writing excepted. It is also in contemplation to teach a blind pupil _pasigraphy_, or universal language, invented by DEMAIMIEUX.

M. HAuY details to strangers every part of his plan with the most patient and obliging attention. When he had concluded, I could not avoid expressing a wish that the art of instructing the blind in the fullest extent might be speedily introduced among all nations. "After having paid to my country," rejoined M. HAuY, "the merited homage of my invention, my anxiety to contribute to the relief of the afflicted, wherever they may be found, gives birth to the desire of propagating, as much as possible, an inst.i.tution which enlightened men and philanthropists have been pleased to recommend to the attention of foreigners and to the esteem of my countrymen, as may be seen by consulting different literary publications from the year 1785 down to the present time, particularly the new French Encyclopaedia, at the article _Aveugle_."

"I should," added he, "perform a task very agreeable to my feelings in concurring, by my advice and knowledge, to lay in England the foundation of an establishment of a description similar to either of those which I have founded in Paris. One of my pupils in the art of instructing the blind, M. GRANCHER, a member of several learned societies in France, and possessed of my means and method, would voluntarily devote his talents and experience to the success of such an undertaking, to which he is himself strongly attached through philanthropy and zeal for my reputation."--"I am persuaded,"

interrupted I, "that were the advantages of such an establishment made public in England, it would receive the countenance and support of every friend of human nature."--"It is an unquestionable fact,"

concluded M. Hauy, "that an inst.i.tution of fifty blind, well conducted, ought, by their labour, to produce more than would defray its expenses. I have already even tried with success to apply to the English tongue my method of reading, which is so contrived for the French language, that I need not give more than two or three lessons to a blind child, in order to enable him to teach himself to read, without the further help of any master."

LETTER XLI.

_Paris, December 29, 1801._

Such a crowd of different objects present themselves to my mind, whenever I sit down to write to you, that, frequently as I have visited the Grand French Opera since my arrival here, I have been hesitating whether I should make it the subject of this letter.

However, as it is one of the first objects of attraction to a stranger, and the first in a theatrical point of view, I think you cannot be too soon introduced to a knowledge of its allurements. Let us then pa.s.s in review the

THeaTRE DES ARTS ET DE LA REPUBLIQUE.[1]

Previously to the revolution, the French opera-house, under the name of _Academie Royale de Musique_, was situated on the Boulevard, near the _Porte St. Martin_. Except the facade, which has been admired, there was nothing very remarkable in the construction of this theatre, but the dispatch with which it was executed.

The old opera-house in the _Palais Royal_ having been burnt down on the 8th of June 1781, M. LENOIR, the architect, built a new one in the short s.p.a.ce of sixty days, and, within a fortnight after, it was decorated and opened. Had an hospital been reduced to ashes, observes an able writer, it would have required four years at least to determine on the eligibility of new plans.--But a theatre, constructed with such expedition, excited apprehensions respecting its stability: it was necessary to remove them, and, by way of _trying the house_, the first representation was given _gratis_. This had the desired effect: after having sustained the weight of between two and three thousand market-women, oyster-wenches, shoe-blacks, chimney-sweepers, porters, &c, it was deemed sufficiently solid to receive a more refined audience.

At the beginning of the year 1793, the interior of this quickly-built theatre was also destroyed by fire. But the opera experienced no interruption: such an event would be regarded as a public calamity in the capital. In fact, this expensive establishment affords employ to a vast number of persons. The singers, dancers, musicians, machinists, painters, tailors, dress-makers, scene-s.h.i.+fters, &c.

attached to it, would const.i.tute a little nation. The richness and variety of the dresses give activity to several branches of trade, and its representations involve all the agreeable arts. These united attractions captivate foreigners, and induce them to squander considerable sums of money in the country. Hence, were the opera-house shut up, commerce would suffer; there would be an absolute void in the pleasures of the Parisians; and, as experience proves, these volatile people would sooner resign every thing most valuable than any portion of their amus.e.m.e.nts. Besides, without such an establishment, the talents of singers and dancers could not be maintained in their present perfection. It holds out to them constant encouragement and remuneration; while, compared to any other theatre, it excites in the spectators a greater number of pleasing sensations.

How then could it be dispensed with?

Accordingly, when the disaster befell the theatre of the _Porte St.

Martin_, it was considered as a fortunate circ.u.mstance that the present opera-house was just finished. The performers of the _ci-devant Academie de Musique_ immediately established themselves in this new asylum, which is situated in the _Rue de la Loi_, facing the National Library, and opened it to the public under the name of _Theatre des Arts_. I must observe, by the way, that, in France, all players, dancers, musicians, and every one who exercises an art, are now styled _artistes_.

The form of this house is nearly a parallelogram: one of the shorter sides is occupied by the stage, and the other three are slightly curved. In general, one is ill placed here, except in the boxes in front of the stage, and in the pit, the seats of which rise abruptly, in the manner of an amphitheatre, from the orchestra to the first tier of boxes. The Chief Consul has chosen for himself the stage-box, as I believe we term it in England, on the right hand of the actors.

It is elegantly decorated with scarlet velvet, embroidered in gold.

The ornaments (I am not speaking of the scenery) are neither of superlative elegance, nor do they display extraordinary taste. The curtain, however, is majestic and beautiful, as well as the ceiling.

"Here," says a French author, "arts, graces, genius, and taste conspire to produce a most magnificent, a most brilliant, and most enchanting spectacle. Here heroes come to life again to sing their love and their despair; here many a G.o.ddess is seen to mix with mortals, many a Venus to descend from the radiant Olympus in order to throw herself into the arms of more than one Anchises."--Certainly, if splendid decorations, rich and appropriate dresses, the most skilful machinists, the most distinguished composers, a numerous and most select orchestra, some excellent actors, together with the most celebrated dancers in Europe, of both s.e.xes, const.i.tute a brilliant spectacle, this justly deserves that t.i.tle. In these magnificent arrangements, we see again the Grand French Opera, as it appeared in the most splendid days of the monarchy. With the exception of the singing, every other department at this theatre is much improved; the only drawback that I can discover at the representation of the same pieces, which I have often seen here before the revolution, consists in the exterior of the spectators. Between the acts, when I transport myself in idea to the former period, and, looking round the house, form a comparison, I find the republican audience far less brilliant, owing, no doubt, to the absence of that glare of diamonds, embroidery, lace, and other finery, which distinguished the frequenters of the opera under the old government.

The performances at the opera being, in general, more calculated for charming the eyes and ears, than gratifying the understanding, it is, consequently, the most frequented of any of the capital.

"-------- With the many Action is eloquence, and th' eyes of th' ignorant More learned than their ears."

There is, however, no piece represented at this theatre that a stranger ought not to see, either on account of the music, or of the spectacle and its decorations. The operas, or lyric tragedies, which, from the number of times they have been performed, appear to have obtained the greatest success, are those of GLUCK. The originality, the energy, the force and truth of declamation of this great musician were likely to render him successful, especially among the French, who applauded the two last-mentioned qualities on their other national theatre.

With the exception of one only, all the works of GLUCK have remained as stock-pieces, and are played from time to time. They are five in number; namely, _Iphigenie en Aulide_, _Iphigenie en Tauride_, _Orphee et Euridice_, _Armide_, and _Alceste_. That which could not maintain its ground, and consequently fell, was _Narcisse_. The flimsiness of the poem was the cause; for the music, I am a.s.sured, is the finest that GLUCK ever composed, and several pieces of it have been repeatedly performed in the Parisian concerts.

The _Didon_ of PICCINI and the _OEdipe a Colonne_ of SACCHINI have had no less success than the operas of GLUCK. They are very frequently represented.

It may not, perhaps, be unseasonable to remind you that, from twenty to twenty-five years ago, when the old operas of LULLI and RAMEAU were laid aside, and replaced by modern works, two parties were formed, which, from the name of the musician that each adopted, were called, the one, _Gluckists_; and the other, _Piccinists_. Their inveteracy was great, somewhat like that which, forty years before, existed between the _Molinists_ and _Jansenists_: and few persons, if any, I believe, remained neuter. Victory seems to have crowned the former party. Indeed the music of GLUCK possesses a melody which is wonderfully energetic and striking. PICCINI is skilful and brilliant in his harmony, as well as sweet and varied in his composition; but this style of beauty has been thought to be deficient in expression.

Truth obliges me to say, that, of PICCINI'S works, no opera is now played but his _Didon_, and that his other productions, which, to the best of my recollection, are _Alys_, an opera called _Iphigenie en Tauride_, and _Penelope_, have fallen. This was ascribed to the mediocrity of the language; a part of an opera somewhat essential, though no great attention seems to be bestowed on it. But if people here are not very difficult as to the style of the language, they require at least an action well conducted and interesting. When the piece is of itself cold, it is not in the power of the finest music to give it warmth. The _OEdipe a Colonne_ of SACCHINI is reckoned by many persons the _chef-d'oeuvre_ of operas. That able musician has there excelled in all that is graceful, n.o.ble, and pathetic; but it exhibits not the tragic fire that is to be found in the works of GLUCK. SACCHINI has left behind him another composition, called _Arvire et Eveline_, which, though a cold subject, taken from the history of England, is held in estimation.

At this theatre are also performed what the French term _operas de genre_. These are a species of comic opera, in which is introduced a great deal of show and bustle. _Panurge_, _La Caravanne_, _Anacreon_, _Tarare_, _Les Pretendus_, _Les Mysteres d'Isis_, &c. are of this description. The music of the first three is by GReTRY. It is considered as replete with grace, charm, and truth of expression. The poem of _Panurge_ is an _estravaganza_. Those of the _Caravanne_ and of _Anacreon_ are but indifferent. It required no small share of talent to put words into the mouth of the charming poet, whose name is given to the last-mentioned piece; but M. GUY appears not to have thought of this. _Tarare_ is a tissue of improbabilities and absurdities. The poem is frequently nothing but an a.s.semblage of words which present no meaning. It is a production of the celebrated BEAUMARCHAIS, who has contrived to introduce into it a sort of impious metaphysics, much in fas.h.i.+on here before the revolution. The music is by SALIERI; it is very agreeable. The decorations are brilliant and diversified. The piece is preceded by a prologue (which no other opera has) representing the confusion and separation of the elements; and at the time of its first appearance, I remember it was said that chaos was the image of the author's head.

_Les Pretendus_ is a piece in one act, the plot of which is weak, though of a gay cast. The music is charming. It is by LE MOYNE, who died a few years ago, at an early period of life. _Les Mysteres d'Isis_, which is now the rage, is an incoherent parody from a German opera, called _the Enchanted Flute_. To say that the music is by MOZART, dispenses me from any eulogium. The decorations are extremely beautiful and varied: a scene representing paradise is really enchanting.

After speaking of lyric tragedies, I should have mentioned those which are either in rehearsal, or intended to be brought forward at this theatre. They consist of _Hecube_, _Andromaque_, _Semiramis_, and _Tamerlan_. Although none of them are spoken of very highly, they will, in all probability, succeed in a certain degree; for a piece scarcely ever has a complete fall at the opera. This theatre has so many resources in the decorations, music, and dancing, that a new piece is seldom dest.i.tute of something worth seeing.

What, at the present day, proves the greatest attraction to the opera, is the dancing. How bad soever may be a piece, when it is interspersed with fine ballets, it is sure of having a certain run.

Of these I shall say no more till I come to speak of that department.

The weakest part of the performances at the opera is the singing. All are agreed as to the mediocrity of the singers at this theatre, called _lyric_. No one can say that, within the last ten or twelve years, they are improved. To any person fond of the Italian style, it would be a sort of punishment to attend while some of the singers here go through a scene. On the stage of the French comic opera, it has been adopted, and here also a similar change is required; but with the will to accomplish it, say its partisans, the means, perhaps, might still be wanting. The greater part of the old performers have lost their voice, and those who have not, do not appear to have sufficiently followed the progress of modern taste to be able all at once to embrace a new manner.

The first singer at the opera, in point of talent, is LAS. He even leaves all the others far behind him, if we consider him only as a singer. He is a _tenore_, according to the expression of the Italians, and a _taille_, according to that of the French: in the _cantabile_ or graceful style, he is perfect; but he ought to avoid tragic pieces requiring exertion, in which his voice, though flexible, is sometimes disagreeable, and even harsh. Besides, he is absolutely deficient in n.o.bleness of manner; and his stature and countenance are better suited to low character. Indeed, he chiefly performs in the operas termed here _operas de genre_, such as _Panurge_, _La Caravanne_, _Anacreon_, and _Les Pretendus_. In these, his acting is correct, and his delivery judicious.

LAS is no less famous for the violence of his political opinions than for his talents as a singer. At the period when the abettors of the reign of terror were, in their turn, hunted down, for a long time he durst not appear on the stage. He was accused by his brother performers of having said that the opera would never go on well till a guillotine should be placed on the stage. This stroke was levelled against the greater part of the actors and the musicians belonging to the orchestra. However, as LAS could not be reproached with any culpable _actions_, he found zealous defenders, and the public sacrificed their resentment to their pleasure. This lenity appears not to have had on him the effect which one would imagine. He still possesses every requisite for singing well, but seems indifferent as to the means of pleasing, and exerts himself but little.

If singers were esteemed by seniority, and perhaps by employment, LAINEZ would be reckoned the first at this theatre. He is a counter-tenor, and performs the parts of a lover. His voice is very strong, and, besides singing through his nose, he screams loud enough to split one's ears. I have already observed that the ears of a tasteful amateur would sometimes be shocked at this theatre. The same remark, no doubt, was equally just some time ago; for J. J.

ROUSSEAU, when he was told that it was intended to restore to him the free admission which he had enjoyed at the opera, replied that this was unnecessary, because he had at the door of his country-residence the screech owls of the forest of Montmorency.

Those who are partial to LAINEZ think him an excellent actor. This means that he has some warmth, and bestirs himself like a demoniac.

When the heroes of the opera wore hair-powder, nothing was more comic than to see him shake his head, which was instantly enveloped in a cloud of dust. At this signal the plaudits burst forth with great violence, and the would-be singer, screaming with still greater loudness, seemed on the point of bursting a blood-vessel.

It is reported that, not long since, a great personage having sent for the _artists_ belonging to the opera, said to them, addressing himself to LAINEZ, "Gentlemen, do you intend to keep long your old singers?"[2] The same personage then turning round to the dancers added, "As for you, gentlemen of the dance, none but compliments can be paid to you."

LAFOReT who (as the French express it), _doubles_ LAINEZ, that is, performs the same characters in his absence, has little more to recommend him than his zeal. His voice is tolerably agreeable, but not strong enough for so large a house. As an actor he is cold and aukward.

Next comes CHeRON: he sings ba.s.s. His voice is strong, and the tone of it sonorous and clear. However, it is thought to be weakened, and although this singer sometimes throws out fine tones, he is reproached with a want of taste and method. He is a sorry actor.

Indeed, he very seldom makes his appearance, which some attribute to idleness; and others, to his state of health. The latter is likely to be occasionally deranged, as in point of epicurism, he has as great a reputation as our celebrated Quin.

ADRIEN, who _doubles_ CHeRON, is an excellent actor; but his means do not equal his intelligence. He presents himself wonderfully well; all his movements, all his gestures have dignity, grace, and ease. There are, for the same employment, other secondary singers, some of whom are by no means backward in exertion, particularly DUFRESNE; but an impartial observer can say nothing more in their commendation.

Let us now examine the qualifications of _Mesdames les cantatrices_.

The first female singer at the opera is Mademoiselle MAILLARD. By means of a rather pretty face, a clear voice, and a cabal of malcontents (for there are some every where and in every line), she obtained loud applause, when she first appeared some years ago as the rival of the charming ST. HUBERTI. Since the revolution, France has lost this celebrated actress, and probably for ever. She emigrated, and has since married the _ci-devant_ Comte d'Antraigues. Although she had not a powerful voice, she sang with the greatest perfection; and her impressive and dignified style of acting was at least equal to her singing.

At the present day, Mademoiselle MAILLARD has succeeded Madame ST.

HUBERTI, and is, as I have said, the first singer, in point of rank.

She is become enormous in bulk, and as the Italians express it, _canta a salti_. Her powerful voice fills the house, but she is not unfrequently out of tune: her declamation is noisy; while her masculine person gives her in all her motions the air of a Bacchante.

These qualities, no doubt, recommended her to the notice of CHAUMETTE, the proclaimer of atheism, under whose auspices she more than once figured as the G.o.ddess of reason. She has, nevertheless, occasionally distinguished herself as an actress; and those who love noise, admire the effect of her transitions. But I give the preference to Mademoiselle LATOUR, who has a melodious pipe, which you will probably hear, as it is said that she has not retired from the stage, where she frequently reminded the public of the fascinating ST. HUBERTI, particularly in the character of _Didon_.

Since the prolonged absence of Mademoiselle LATOUR, Madame BRANCHU _doubles_ Mademoiselle MAILLARD. She is of much promise both as a singer and actress. Her voice is agreeable, but not extensive.

Mademoiselle ARMAND is another most promising singer, who has a more powerful organ than Madame BRANCHU, and when she has perfectly acquired the art of modulating it, will, doubtless, prove a very valuable acquisition to this theatre. Her voice has much sweetness, and sometimes conveys to the ear the most flattering sounds, as its low tones are grave without being harsh, and its high ones sonorous without being sharp. She seems to execute the most difficult pieces of music with considerable ease; but she is deficient in action.

Mademoiselle HENRY is strong as to method, but weak as to means, in singing. There are several other female singers; but, in my opinion, their merits do not ent.i.tle them to particular mention.

Twelve or fourteen years ago, the opera was much better provided with singers than it is at the present moment. Their voices, in every line of this department, were well-toned and powerful. They easily reached the highest notes according to the tone given by the diapason. Since then, the powers of most of the singers who still remain on the stage have diminished, and those called in to supply the place of such as are dead or have retired, are not near so rich in voice as their predecessors. The diapason, however, has remained the same: to this, in a great measure, may be attributed those shrieks and efforts which disgust foreigners, unaccustomed to the French method. At the Parisian comic opera, in consequence of a remonstrance from the princ.i.p.al singers, their diapason has been lowered half a tone; and it seems necessary to examine whether the same rule be not applicable to this theatre.

The choruses, notwithstanding, are now given here with more effect and precision than I ever remember at any former period. In these, the ear is no longer offended by exaggerated extensions of the voice, and, on the whole, they are sung in a grand and graceful style.

The orchestra, which is ably led by REY, has also experienced a manifest improvement. The princ.i.p.al musicians, I understand, have been recently changed; and the first artists are engaged for the execution of the solos, and nothing can now be wished for, either as to the spirit and correctness of the overtures, or to the melody and taste of the accompaniments.