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 goddess 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 entitle 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 principal 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 principal 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.
The Chief Consul is said to be particularly partial to Italian music. In consequence, KREUTZER, a capital violin, and also a celebrated composer, has been dispatched to Italy by the French government, for the express purpose of selecting and purchasing the finest musical compositions which can be procured in that land of harmony. Thus, the advice given by ROUSSEAU, in his Dictionnaire de Musique, has at length been followed.
So much for the singing department of the opera, which, as you see, with some exceptions, is but indifferent: in my next, I shall speak of the dancing.