Later Queens of the French Stage

by H. Noel Williams

In those days, it was the fashion at the Opera to frequently present entire pieces composed of acts extracted from various works. These performances, called “Fragments,” were very popular with the patrons of the theatre, since they constituted but little strain upon the imagination, while the variety of their subjects and music provided an agreeable change. On September 24, 1782, four “fragments” were performed at the Opera, the most important of which was a new act by Moline and Edelmann, entitled Ariane dans l’Île de Naxos. Madame Saint-Huberty, who played the part of Ariane, had always had a strong predilection in favour of historical accuracy in stage costume, and, on the advice of the painter Moreau, who held similar views and had designed the dresses for this opera, she resolved to make a move in the direction of reform.

“We have seen, for the first time, on the stage,” says the Journal de Paris, “in the principal personage, the costume rigorously observed. These designs have been made on the advice of M. Moreau le jeune, favourably known in artistic circles by the number, the variety, and the continual beauty of his works.”

Levacher de Chamois, in his work on theatrical costume, has traced a description of the costume worn by Madame Saint-Huberty on this occasion:

“One saw this actress appear habited in a long linen tunic, fastened beneath the bosom; the legs bare and fitted with the ancient buskin. From the head descended gracefully several plaits of hair, which played about her shoulders. This costume, a novel one for the spectators and both true and elegant, was applauded with a kind of frenzy. But, in spite of the approval of the public, there arrived orders which one called ‘ministerial,’ forbidding Madame Saint-Huberty to appear in this beautiful costume, and at the second representation of the work she was obliged to resume the heavy and ridiculous accoutrements of our coquettes and prudes.”[183]

Notwithstanding this mortification, the actress had no reason to be dissatisfied with her performance of Ariane. It was indeed, for her, a veritable triumph. “As for Madame Saint-Huberty,” says the Journal de Paris, “we do not know which serves her the best, her face, her voice, or her acting; she knows how to give to each song inflections which occasion the most lively emotions.” And the musical critic of the Mercure writes: “Madame Saint-Huberty, in the opera of Ariane, has added yet further to the idea that one has always entertained of her intelligence and her talent. She played in a manner always animated and interesting, and sang with the greatest expression the music constantly loud and passionate of a long and difficult rôle.”

Guinguéné, in his notice on the life and works of Piccini, declares that Madame Saint-Huberty owed to the protection of the celebrated composer the fact that her name was not erased from the books of the Opera after her brilliant rendering of the part of Ariane, since she had shown on this occasion views too independent and a talent too original to suit the views of the authorities of that institution. “The success which she had obtained in it excited the petty passions of the coulisses. They were prepared to drive her from the Opera, and Piccini alone sustained her. He recalled to those who were the powers of the State the witty and sensible mot of Gluck; he predicted that they would speedily have need of her, and that they would be only too happy to have her. His selection of her for the interesting part of Sangarede and the superior manner in which she rendered not only the music, but the scenes as well, moved the entire public in her favour and gave her a settled position on the stage of which she was for ten years the glory.”[184]

The revival of Atys had taken place at the beginning of the year 1783, when Madame Saint-Huberty played the heroine with an enthusiasm which gave a new lease of life to that fine opera. “Thus,” says M. Jullien, “she found herself dividing her sympathies between the two hostile camps, and lending, in turn, the assistance of her great talent to the two rival composers: to Gluck, who had given her her first opportunity at the Opera, to Piccini, who had helped her to retain her position there.”[185]