"The taste of Marie Antoinette for private theatricals was kept up till the clouds of the Revolution darkened over all her enjoyments.
"These innocent amusements were made subjects of censure against her by the many courtiers who were denied access to them; while some, who were permitted to be present, were too well pleased with the opportunity of sneering at her mediocrity in the art, which those, who could not see her, were ready to criticise with the utmost severity. It is believed that Madame de Genlis found this too favourable an opportunity to be slighted. Anonymous satires upon the Queen's performances, which were attributed to the malice of that authoress, were frequently shown to Her Majesty by good-natured friends. The Duc de Fronsac also, from some situation he held at Court, though not included in the private household of Her Majesty at Trianon, conceiving himself highly injured by not being suffered to interfere, was much exasperated, and took no pains to prevent others from receiving the infection of his resentment.
"Of all the arts, music was the only one which Her Majesty ever warmly patronised. For music she was an enthusiast. Had her talents in this art been cultivated, it is certain from her judgment in it that she would have made very considerable progress. She sang little French airs with great taste and feeling. She improved much under the tuition of the great composer, her master, the celebrated Sacchini. After his death, Sapio was named his successor; but, between the death of one master and the appointment of another, the revolutionary horrors so increased that her mind was no longer in a state to listen to anything but the howlings of the tempest.
"In her happier days of power, the great Gluck was brought at her request from Germany to Paris. He cost nothing to the public Treasury, for Her Majesty paid all his expenses out of her own purse, leaving him the profits of his operas, which attracted immense sums to the theatre.
"Marie Antoinette paid for the musical education of the French singer,
Garat, and pensioned him for her private concerts.
"Her Majesty was the great patroness of the celebrated Viotti, who was also attached to her private musical parties. Before Viotti began to perform his concertos, Her Majesty, with the most amiable condescension, would go round the music saloon, and say, 'Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation, while Mr. Viotti is playing, for it interrupts him in the execution of his fine performance.
"Gluck composed his Armida in compliment to the personal charms of Marie Antoinette. I never saw Her Majesty more interested about anything than she was for its success. She became a perfect slave to it. She had the gracious condescension to hear all the pieces through, at Gluck's request, before they were submitted to the stage for rehearsal. Gluck said he always improved his music after he saw the effect it had upon Her Majesty.
"He was coming out of the Queen's apartment one day, after he had been performing one of these pieces for Her Majesty's approbation, when I followed and congratulated him on the increased success he had met with from the whole band of the opera at every rehearsal. 'O my dear Princess!' cried he, 'it wants nothing to make it be applauded up to the seven skies but two such delightful heads as Her Majesty's and your own.'—'Oh, if that be all,' answered I, 'we'll have them painted for you, Mr. Gluck!'—'No, no, no! you do not understand me,' replied Gluck, 'I mean real, real heads. My actresses are very ugly, and Armida and her confidential lady ought to be very handsome:
"However great the success of the opera of Armida, and certainly it was one of the best productions ever exhibited on the French stage, no one had a better opinion of its composition than Gluck himself. He was quite mad about it. He told the Queen that the air of France had invigorated his musical genius, and that, after having had the honour of seeing Her Majesty, his ideas were so much inspired that his compositions resembled her, and became alike angelic and sublime!
"The first artist who undertook the part of Armida was Madame Saint Huberti. The Queen was very partial to her. She was principal female singer at the French opera, was a German by birth, and strongly recommended by Gluck for her good natural voice. At Her Majesty's request, Gluck himself taught Madame Saint Huberti the part of Armida. Sacchini, also, at the command of Marie Antoinette, instructed her in the style and sublimity of the Italian school, and Mdlle. Benin, the Queen's dressmaker and milliner, was ordered to furnish the complete dress for the character.