"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 goddess 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 sexes, constitute a brilliant spectacle, this justly deserves that title. 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, Iphigénie en Aulide, Iphigénie en Tauride, Orphée 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 assured, 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 Œdipe à 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 Iphigénie en Tauride, and Pénélope, 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 Œdipe à Colonne of SACCHINI is reckoned by many persons the chef-d'œuvre of operas. That able musician has there excelled in all that is graceful, noble, 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 Evéline, 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 opéras de genre. These are a species of comic opera, in which is introduced a great deal of show and bustle. Panurge, La Caravanne, Anacréon, Tarare, Les Prétendus, Les Mystères d'Isis, &c. are of this description. The music of the first three is by GRÉTRY. 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 Anacréon 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 assemblage 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 fashion 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 Prétendus 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 Mystères 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 Hécube, Andromaque, Sémiramis, 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 destitute of something worth seeing.