Phonograph Monthly Review, Vol. 3, No. 8 (1929-05)

260 The Phonograph Monthly Review May, 1929 Offenbach and Opera-Bouffe By JAMES HADLEY (Concluded from the last issue.) “Fleur de The,” produced at the New York Casino under the title of “The Pearl of Pekin”, enjoyed great success, and in the Little Duke,” Miss Lillian Russell shone resplendent, but “Girofle-Girofla,” in which Miss Russell also enjoyed one of her greatest triumphs, is probably the work by which Lecocq is best known in America. The opera’s delightful Overture has been recorded by the Homocord Co., on two sides of a 10^4 inch record (Homo- cord, B729). “Gems” from “Girofle-Girofla” are sung in Eng- lish by the Victor Light Opera Co., (Victor, 31827); and a Se- lection is played by Pryor’s Band. (Victor, 16652). At one of the Goldman band concerts in Central Pa,rk recently, the audience had listened to an exceptionally brilliant performance of a Fantasia on melodies from Offenbach’s “Grande Duchesse.” My companion, an amateur musician of no ordinary attainments, turned to me as the Fantasie was concluded. “What beautiful tunes,” she said. “Now if they could only be re-harmonized by Erik Satie or Stravinsky—wouldn’t it be wonderful? . . . you see, as it is, they sound so sort of simple, somehow!” I am just a little tired of hearing Offenbach patronized, so I submit the following:— Though Offenbach is not awarded a place among the “musi- cal mighty”, he nevertheless had a keen tatural instinct, and now and then made surprising discoveries in harmony. In a work of slight texture, “Daphnis et Chloe”, wherein he bur- lesqued the Arcadian Sheperd-world, Offenbach risked a dominant eleventh, without either introduction or conclusion— an extraordinary audacity at the time. This is a fact . . . you can find it for yourself in the score if you care to take the trouble. It is often said that Lecocq was a far better musician than Offenbach. So he was. He had a more refined style, and was more delicate and exquisite in his effects, but he never was able to reproduce the older composer’s indescribable touch —his piquant audacious gayety that sets his music as a thing apart. As for pre-eminence in harmonic treatment, Lecocq never made use of a dominant eleventh, nor did he experiment with the chord of the ninth, which gives “Tannhauser” and “Lohengrin” their exciting character. How precious is this thrill to those who demand above everything else in music the rapture resulting from severe shocks to the nervous system. And when Offenbach set his mind to purely musical bur- lesque, how superb is the satire. The admirers of the im- mortal “Grande Duchesse” are legion, yet, when they whistle or hum those couplets, “Ah! que j’aime les militaires, j’aime”, (“How I dote on the military”), how many of them realize that it is a musical pun on a certain rhythm in the Finale of Beethoven’s “Symphony in A”? Any music-lover who is familiar with the style of Meyer- beer’s operas will laugh heartily at the inimitable burlesque in the chorus on two contrasted themes from the last act of “Les Brigands”. It is not only an inimitable parody, and good music in the bargain, but it is the very Meyerbee(r himself. In “Le Corsaire Noir”, Offenbach caricatures the inflated melodramatics of the familiar “Zampa” Overture, with the same unerring touch. “La Belle Helene abounds in the most amusing parodies on the old Italian and the Grand Opera formulas. The patriotic trio in the last act is a burlesque—and a convulsing one—of the famous Trio in “William Tell”. At that time, Rossini’s opera was at the height of its fame, and the daring of Offenbach in writing a parody of its music may better be imagined than described. The role of critic, however, was not always to be Offen- bach’s privilege. Sometimes an artist had distinct ideas of her own as to what was suited to her voice, and what she cared to sing. When Mile. Tostee first read over the role of the “Grande Duchesse”, all went well until she reached the exquisite ro- mance, “Dites lui” (Say to him), in the second act. “It’s pretty, certainly . . . that’s the trouble; it’s too pretty and too spirituelle. Somehow it doesn’t fit the rest of the opera”, she objected, with much truth. “Can’t you find me some- thing with more ‘snap’ and ‘go’ to it?” Finally, Tostee sang the romance, and with much success, though she had thought, among other wicked things she had sung earlier in her career, of Diderot’s song of “Six Sous”, which she always insisted would have made a far more sensa- tional effect with her audiences—which was very likely true enough. The history of opera shows many more instances of the kind. Madame Galla-Marie was greatly dissatisfied with the entrance-song which Bizet had written in the opera of “Car- men.” Se was to create the title role, and her widhes might not be lightly disregarded. The composer wrote others, but he failed twelve times to satisfy her. The thirteenth effort was successful, and that was an old Spanish tune which had been already used by the composer Yradier. This completely captured the diva’s fancy. Some years ago. Victor Herbert told me that “Kiss Me Again” had been his best seller for many years. It is worth noting, in passing, that Fritzi Scheff, for whom the song was written, didn’t care for it at all, and wanted a new one written. It is from the 2nd act of “Mile. Modiste.” Scheff declared that the opening B-natural below the treble staff was too low for her voice. Henry Blossom, the author of the book, and Charles Dillingham, the producer, both had small use for the song, and echoed the dissatisfaction of their star. Victor Herbert had faith in the number, and refused to alter it. In the end he won his point, and the song became one of the most famous “hits” of musical history. Afte/r many years, its popularity is as great as ever. Indeed, it bids fair to become a classic. From time to time, we read of plans to revive these operas- bouffes. Would there be audiences to listen to them? Would they prove to be popular? Yes, and no! Mr. Henry Hersen has written pointedly:— “The great difficulty which English and American managers have experienced in dealing with, or transplanting Parisian opera-bouffe has been connected with the framework or ideas of the composition. No one attempts to deny the sparkling wit and humor of such travesties as “Orphee aux Enfers”, and “La Belle Helene”, but the humor was, for the most part, concerned with physical license, and usually, a com- pound fracture of the seventh commandment. This “motive” which runs through these stories is not one which recommends itself to Anglo-Saxon taste, and, unfortunately, it is pretty much the same on all occasions. The Grand Duchess falls in love with a stalwart soldier in her army, and begins paw- ing him about. In “Madame Angot”, Clairette jilts a humble barber for Ange Pitou, and straightaway her friend and school- fellow, Mile. Lange, makes frantic and indelicate love to poor Clairette’s lover. It is undeniable that these operas-bouffes contain much admirable music, and these beautiful airs stimu- lated the singers to their highest efforts.” Truly, Hortense Schneider, Jeanne Granier, Judie, Theo, Aimee, Jane Hading and others owe a tremendous debt to gratitude to Offenbach. Herve, Vasseur, Lecocq and Audran. All these women sung well, were clever actresses, and possessed of great personal charm, and sometimes, of unusual beauty. On the other hand, the debt is mutual, for operas have always flourished principally through public intrest in the women who have sung in them. Occasionally there comes a veritable genius, like the great Jose Dupuis—whose comedy was unapproachable, and whose wit was keen as a rapier—but such heaven-born actors are met with but once in a life-time. The opera-bouffe productions of Offenbach and his follow-