Formerly, the French Comic Opera was very rich in stock-pieces, chiefly written by FAVART, SÉDAINE, MARMONTEL, HÈLE,[[1]] MONVEL, MARSOLIER, HOFFMAN, and others. Their productions were set to music by GRÉTRY, MONSIGNY, PHILIDOR, DÉSAÏDES, DALEYRAC, &c. These pieces are now seldom played, the music of them being antiquated; though for energy and truth of expression some of it surpasses that of many of the more modern compositions. The new authors are little known. The composers of the music are MÉHUL, DALEYRAC before-mentioned, BOYELDIEU, TARCHI, &c. The modern pieces the most in vogue and most attractive are Le Prisonnier, l'Opéra Comique, a piece so called, Le Calife de Bagdad, Maison à vendre, D'Auberge en Auberge, and a few others of the same description. All these are really pleasing comedies.
The Théâtre Feydeau itself was also in possession of a great number of stock-pieces, among which were some in the style of the Grand French Opera. A considerable change seems to have taken place, as the latter are now no longer represented.
In surveying the Opéra Comique, one would imagine that, in lieu of one company, two separate ones had been formed to play in the same theatre. The former is the weaker in number, but the stronger in talent. The latter, though weaker, has some good performers, in the long list of those of whom it is composed; but, in general, they are either no longer in their pristine lustre, or have not yet attained a competent degree of perfection.
Seldom are the two companies mixed. Pieces in the style of the modern Opéra Comique, in which easy mirth is replaced by quaint jests, are played exclusively by the former. They draw crowded houses, as the public are extremely partial to them. Lyric drames are abandoned to the latter, and the old stock-pieces to such of the performers as choose to act in them for a small number of spectators who are so obliging as to enter the house with orders or free admission. OF all the repositories of old pieces that of the Comédie Italienne is the one which is the most entirely neglected. This is rather the fault of the actors than that of the public. There are many old productions which would attract a crowd, were the best performers to play them; but who likes to pay for seeing a master-piece murdered?—We now come to speak of the qualifications of these performers.
Principal Characters and parts of Lovers.
Counter-Tenors.
ELLEVIOU, GAVAUDAN, PHILIPPE, and GAVEAUX.
ELLEVIOU. He is the first singer at the Opéra Comique. Nor will this opinion be contradicted by any of the elegant and pretty women who, slaves to the custom of shewing themselves at the first representation of a new piece, never begin to applaud till ELLEVIOU makes his appearance.
This performer is, in fact, gifted with a handsome person, an easy manner, an expressive countenance, and a voice, which, when he modulates it, is charming. His delivery is tolerably good, and in some parts, he is not deficient in warmth and feeling. As a singer, ELLEVIOU leaves behind all those destined to second him. After having begun by singing bass, he has taken the parts of counter-tenor, for which, however, his voice is not suited, but he makes up for this deficiency by a very flexible tenor. He displays much art and a very modern taste. His method too is good; he makes no improper use of his facility by lavishing graces, but his manner is too uniform. This is the greatest objection that can be made to him, in the double capacity of singer and comedian.
GAVAUDAN. This young actor, with a well-proportioned stature and a very agreeable countenance, ranks, at the Opéra Comique, next in merit to ELLEVIOU. His voice, as a counter-tenor, is not very brilliant, nor his means extensive; but his taste is good, and his method that of the modern school. As a player, he has a certain repution in lyric drames, and especially in those melancholy parts, the characteristic of which is a concentrated passion. He imitates TALMA, and, like him, "outsteps the modesty of Nature."
PHILIPPE. His reputation was begun by the advantages of his person, and he consolidated it by his performance in the line of knight-errantry. Richard, cœur de lion, was the part which secured him the public favour. His voice is still an agreeable counter-tenor; but he declines through age. As an actor, he is deficient in nobleness, and his gestures are not dignified; but, being used to the stage, and possessing some feeling, he often produces happy effects.
GAVEAUX. He has been a good singer in his youth, and is a very agreeable composer. He always acquits himself of any part he undertakes, if not in a brilliant manner, at least with credit. Two of his musical productions are stock-pieces, and well worth seeing. L'Amour Filial is a happy imitation of the Italian school, and Sophie et Moncars is always heard with pleasure.