Puslapio vaizdai
PDF
„ePub“

PATTI IN PARIS.

the world. It is constantly startling its readers with new inventions of headlines,

and its presentment of news is so decidedly WHAT with debuts in new countries,

attractive as to suggest the impression that its managing editor is argus-eyed and has the discrimination of a thoroughbred.

DR. B. ST. JOHN ROOSA, of No. 20

East Thirteenth street, says that if the automatic opera-glass boxes are to become an established thing, the most rigorous precautions should be taken, by the managers of theatres using them, to prevent them from spreading eye disorders among their patrons. The glasses should be framed in some material which will not be injured by a bath, and after each performance in the theatre, every glass should thoroughly washed in warm water containing some anti-septic fluid. If this should be done, the glasses might be used without any apprehension of infection, but the danger is so real that it is a precaution which cannot safely be neglected. Granular lids and catarrhal affections of the eye are the diseases most to be feared in this indiscriminate use of opera-glasses.

The opinion of Dr. Roosa is not shared by Dr. H. Knapp, of No. 25 West Twentyfourth street, however, Dr. Knapp says positively, and emphatically, that the glasses would carry no infection whatever. He rested this opinion upon the belief that there could be no contagion without disease germs, and he implied that the opera-glass could not be a vehicle for the transmission of such germs.

farewells in old ones and reappear

ances in both, there is sure to be a Patti craze cropping out, now and then, somewhere on the face of the earth like a new volcano. Paris is the scene of the latest..

During the past year it was decided to transfer Gounod's "Romeo et Juliette" from the Opera Comique to the Opera, the composer consenting to the arrangement and agreeing to make the necessary alterations to his second chief d'oeuvre."

So far, so good! but who in all the world was worthy to re-create the role of Juliette? Surely no one but the great Patti and she would never accept the most liberal offer that they could afford to make her. How the difficulty was overcome, I do not know, but I fancy that Mahomet had not journeyed far towards the mountain where he met the latter on the way to visit him, for I hear that the same little woman who refused to put on her shoes until Mr. Mapleson had paid her the last penny of five thousand dollars due her for a single performance finally agreed to do the same amount of work for a fifth of the sum.

Now the Parisians are nothing if not excitable, so when it was rumored about that the diva would reappear on the operatic stage the entire city was on tiptoe with expectation. Though heard occasionally in concerts during the last few years, she has never sought to renew her operatic triumphs of the last Empire and now, after an absence of twenty years, it seemed to some to be sheer folly to attempt to do so. Some went so far as to abuse the directors of the Opera for their lack of judgment. Her voice might still suit the rest of the world, but Paris, never! Besides, did she herself not say that she could not sing in French well enough to suit the Parisians?

But the preparations went on in spite of the wiseacres. The eventful night arrived and those fortunate enough to procure places surprised themselves and their neighbors by taking their seats before the curtain rose. Even the President of the Republic was in his box before the orchestra appeared, after having been received in state by the directors who awaited him at the foot of the great staircase. In the audience were the celebrities of the social, political and artistic world-indeed, it excelled in brilliancy any night in the annals of the Opera.

At eight o'clock Gounod took his place at the conductor's stand, a tremendous burst of applause greeting him as he entered the orchestra. He is said to have been pale with emotion, but otherwise looked well enough to give the lie to the many reports of his serious illness. The opera began and proceeded until Capulet entered leading his daughter by the hand. The Veronese maiden wears a superb costume of pink, and white and gold and as she advances to acknowledge the deafening applause that proceeds from the other side of the footlights she seems to have stepped from the Florentine frieze that inspired the designer of her gown. The singer was deeply moved by her warm reception for she had fully realized the importance of her undertaking and it was not without some doubt of a successful verdict that she faced that great audience. But in that brief moment that she stood there, bending low, all fears were dispelled and she knew that victory lay before her. She was twenty years younger and with renewed vigor she began the waltz aria, executing it in her incomparable manner. The encore that followed was but the beginning of a series of triumphs, "until" says one critic, "by eleven o'clock the whole audience was Romeo."

And so the opera continued to the close. Meanwhile it seems that there was an affecting scene in Patti's dressing-room. Gounod is said to have implored her, with tears in his eyes, not to go away, saying that it was like parting with a favorite child. The prima donna was affected too, for she said: "I will return, dear master." Whereupon the tearful but jubilant directors rushed to the President's box to repeat the joyful news. It is claimed that even he wept for the joy that was in his heart. The next day, in all probability, the ballad-mongers were peddling the Boulangist song, "He will return," with the pronoun changed to suit the sex of the newest Parisian idol.

The battle won, there seems to have been no dissenting voice regarding its decisiveness. As for the opera itself, it was a triumph for the institution. On the following day Gounod wrote to the directors thanking them for their share in the production, adding that in no way could they have better answered the more or less sharp criticisms with which they had been persistently attacked.

Here are some notes from the criticsM. Vitu, of Le Figaro thinks that Patti's voice has broadened and become more powerful without losing its former bird-like lightness and that she pronounces the French language with a clearness and correctness that more than one of his countrywomen might envy.

M. Scholl, of Le Matin, indulges in some recollections apropos of the return of this "Shadow of the Empire." In those good old days she was a lively body and a jolly companion and many were the delightful gatherings at her house. Then, at the end of the season there were those little dejeuners in the Pre Catalan. There was the singer like Marie Antoinette at the Little Triauon. All Paris worshipped her, but there was a little group of more intimate

admirers.

"They were the Petrarchs to whom she was the ideal Laura, the Raphaels to show she was the Fornarina. But being neither marquis nor tenor they could only adore her silently and uncomplainingly." One evening the streets cchoed with the cry, “Patti is married." Paris was amazed; but the hearts of the little circle were broken.

Still another critic meets her in the Bois on the day after the performance. She is taking a walk with her husband, and shows not the slightest sign of fatigue after her exertions of the night before. He marvels at her endurance. She talks about her plans for the future; speaks of a trip to Buenos Ayres, as if it were only a walk in the park and required as little preparation. Herein, he thinks, lies the secret of "her perpetual youth "-she wastes no time worrying and takes no thought of the morrow. When her wanderings shall have ceased, she intends to make France her home. Perhaps it is true then that she will resign Craig-y-Nos and renew the former glories of Cheuonceaux.

M. Raoul Toche (Frimousse) contributes the following to the Patti-ana of 1888:

THE MAN WHO HEARD PATTI,

Of course I was there. You know very well that I never miss an affair of that kind. When you read in the newspapers, "etc., etc.," after the names of celebrities they mean me. Ah! my friends, you undestand, Patti! And no second hand Patti either; the real one, she who achieved such suc- cess under the Empire. If you had only seen that auditorium, and that scenery, and those costumes. Ah! you are indeed to be pitied that you did not see all that! As for Patti-simply a dream. She has a way of singing: "Tra, la, la." And then there

is a moment when she says: “Ah! ah! ah!" That makes the tears flow. I shall never forget the four delightful hours that I passed there. Patti bade me good evening from the distance. Do I know her? No. But I heard her once and at the old Opera. She recognized me. Ah! she's a great artist.

THE MAN WHO DID NOT HEAR PATTI.

How could I help it? I had no chance. I sometimes have a box at the opera, but tnat's in the summer-when the owners are in the country-and, naturally, Patti comes to sing in the winter. I thought of writing to M. Gailhard, but, as I'm not a South of France man, it would have been of no use. In reality it's all the same to me; music bores me, but it's aggravating to be obliged to acknowledge that one hasn't heard Patti. I have a friend who missed a wedding because of that. I can't account, in fact, for this eagerness. She is Patti. Everybody rushes headlong to get a seat. Absurd! If all these idiots had not monopolized the house, I might have had an orchestra-stall and I should have been there too. But the public is so silly!

THE MAN WHO WANTS TO HEAR PATTI. I shall hear her! How I'm going to do it, I don't know, but I shall hear her ! I'm working every "pull" I've got for all it's worth; deputies, senators, ministers, and even members of the common council. I've done even better than that I've made the acquaintance of the valet of a banker, who is a particular friend of one of the dancers. He said that he might obtain a seat in the third gallary by saying it was for himself. It will cost me ten louis, but that's all right. I'd rather do that than to get a seat from the speculators, I'm no fool, not I !

THE MAN WHO DOES NOT CARE TO HEAR

PATTI.

Never, I tell you, never will join a movement that I totally disapprove of. Is this a republic or isn't it? All the spectators are equal in the eyes of the law and I shall not lower myself to the point of asking for a seat. If Messrs. Ritt and Gailhard should come to me, bringing the ticket on a silver plate, I should even then refuse it. There's no good reason why I should hear Patti any more than any other singer. They're all alike in the eyes of the law. Is this a republic, or isn't it? Besides, it seems that there are no seats to be had. But I've made up my mind what I'm going to do. I shall pay no more taxes and then we shall see how the government will set aside the subvention. But I shall not hear Patti, and they may drag me into the opera by force and keep me there between two officers but I shall not hear her just the same. I am a republican, the enemy of privileges and deaf as a stone jug.

[merged small][merged small][merged small][ocr errors]

IN the production of "Anthony and Cleopatra" at Palmer's theatre on the night of Jan. 7, Mrs. Potter will wear some gorgeous costumes-six different dresses made by Worth.

The first is of white and yellow, a white crepe de chine skirt, nearly covered with a long frock of white striped silk, Turkish style, embroidered on the bottom with a small silver design The drapery in plain, white, soft Bengaline strings of white brilliant jewels and gray pearls begins from the breast and goes around the body, to

[ocr errors]

fall in long, graceful folds behind, come close on the hips and are fastened in front in the middle of the belt. A large cloth buttercup sash, embroidered with gold, draped on the bust, ended with a bow with two long ends embroidered with gold. The arms are covered with a net of white brilliant stones, gray and white pearls. As ornament on the neck, a splendid necktie of white and gray pearls with diamonds. The sphynx head dress is in yellow cloth, embroidered with gold like the sash, and covers entirely the hair. Over the forehead is placed an Egyptian band of the royal shell, ornamented with diamonds and pearls falling on the forehead. Large sleeves of white, transparent muslin striped with rows of silver, fall from each shoulder to the feet.

The second dress has a first skirt in white Indian muslin finely plaited in the ancient style fashion, with a cover of a figured and striped white siik going to the ground and slightly raised to the waist on the front skirt. The bust is tight, with a small corslet of reddish old gold and yellowish gold embroidered with silver. A topez and diamond belt goes around the waist; the hips are surrounded with another sash of lilac Bengaline worked with silver and violet stones, and both ends, which are tied on the middle of the skirt, are finished with a mervelous amethyst and diamond fringe. A cloak of same stuff as the cover, same length, embroidered with a brim of orange stones and silver, is caught at the neck with a very large necklace of topaz and diamonds. The two ends of this cloak are fastened in the belt. The royal headband is in topaz, with a diamond snake rolled on it. The arms are covered with shells of white jet.

The third is a cream and coral costume. It is a long frock in cream, soft and silky material, ornamented with a large Egyptian

[ocr errors][ocr errors]

embroidery in coral shade. The sleeves are edged with the same colors. A long crape coral cloak, embroidered same as skirt, but in silk, is attached to the shoulders with strings of pearls, turquoises and diamonds. The corners of the cloak are twisted round the waist and fastened with a pale blue ribbon, embroidered with pearls and silver. The hair scattered is trimmed with a crown of red roses.

Number four is a pink dress. The skirt is in soft and silky material, embroidered with silver, and entirely covered with a frock of white Indian muslin, which is embroidered with silver shells in relief. Two trains, one over the other, form at the waist The wings of the bird (Ibis) begin at the waist and hang most gracefully behind. The first wing is in pink satin, entirely covered with silver embroidery, then the other is also embroidered but made in soft stuff-the embroidery is made as the feathers of the bird, mingled with chenille. A light armor of yellowish green cloth, embroidered with silk velvet twist and blue stones, clasps tight over the waist and the breast, falling over the front skirt a long sash of the same material, entirely covered with shell embroidery like the armor. Over the stuff sash, which falls down to the bottom skirt, comes another sash of rubies and diamond stones, with a broad hand which turns around the waist. A very broad necklace of rubies and diamonds on the neck. From both shoulders hangs a small cloak, falling in a Grecian style, with the edges fringed with large rubies and large silver tassels. On the head-A head dress (Ibis) made all in stones, rubies and diamonds, ornamented with the royal crown made with emerald stones, snakes and on tae top of it the Egyptian vulture enriched with jewels. The bird's wings are an ornament for the hair, and it is so becoming to the face, falling over the forehead, and elegant fringe in ruby stones, ended with Cabochon of the same, reaching the cheeks. A golden scepter, ornamented with a sacred Scarabee, wings of rubies and diamonds,

round it an emerald snake.

The fifth costume is of black and gold. The skirt is of fine golden cloth entirely veiled with black tulle, spangled with gold and embroidered at the end with a large band of yellow jewels; a golden belt twisted twice around the bust and comes falling with a knot below the waist; black tulle cloak, embroidered with a brim of spangle golden shells; small golden bands on the forehead and over the arms; a royal cloak in uncut purple velvet hanging from the neck and hanging over the left arm. This cloak is altogether lined with cherrycolored silk and raised over the right arm. The corners of the cloak are embroidered with splendid jewelry stones, gold and silver, and are like two fans of peacock's feathers all around a handsome edge of lotus and aspic. The necklace is of various stones. A royal diadem of jewelry of many colored stones ornamented with the golden sphinx, with diamond wings. A long diamond fringe falls over the back of the head, and on each side of the face long emerald and ruby coins fringed with diamonds trimmed the breast of one.

And last, the warrior costume. The skirt is of Indian yellow muslin fringed with gold and silver, over which falls a long skirt of Indian muslin embroidered with gold and silver lotus. This skirt is slightly draped to the waist in front. An armor covers all the bust, cut out on the hips. The armor is entirely made of blue steel shells, each shell is surrounded with diamonds, with emerald in the middle, which produce the most marvelous look. A trimming around the armor a very deep fringe of yellow enamel pearls. A necklace of sapphire, diamonds and emeralds in the peacock feather shape. The arms are surrounded all over with enamel and gold snakes. From the left shoulder hangs a small cloak in soft yellow silk trimmed on the bottom with enamel and jewelry eyes. This cloak is lined with yellow cloth. The hair is braided in small braids with the ends raised only on one side. The helmet in blue enamel entirely enriched with diamonds set exactly the head. Two emerald snakes rolled on the helmet lay their heads on the front, from which spring a long white feather with a row of diamonds.

« AnkstesnisTęsti »