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 LAÏS. 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 nobleness of manner; and his stature and countenance are better suited to low character. Indeed, he chiefly performs in the operas termed here opéras de genre, such as Panurge, La Caravanne, Anacréon, and Les Prétendus. In these, his acting is correct, and his delivery judicious.
LAÏS 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 LAÏS 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."
LAFORÊT 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 CHÉRON: he sings bass. 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 CHÉRON, 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.