THE THEATRES, MUSIC, AND THE FASHIONS.

Globe, Volume I, Issue 85, 8 September 1874, Page 4

THE THEATRES, MUSIC, AND THE FASHIONS.

(From a correspondent of the “ Press.") Paris. June 30, Theatres. — The Theatre Frangais has produced a two-act comedy and in verse, by Mr Paul Ferrier, called •‘Tarbarin.” From 1619 to 1626 the fashionable rendezvous in Paris was the Pont Neuf and its vicinity. Citizens went there to see life ; the locality was a permanent fair, and all classes put in an appearance from time to time. “Tarbarin” was the valet of a famous charlatan named Mondor ; around his stand a crowd ever collected by means of “ Tarbarin ” propounding fantastical questions to his master, who endeavored to answer them in a magisterial manner, with sundry quotations from philosophers, delivered partly in Greek and partly in Latin, which were turned into ridicule by a smart reply or droll illustration from ‘‘Tarbarin.” It is unnecessary to add that the language was indelicate and the buffoonery ribald. But then the manners of the day were coarse. Little is really known about Tarbarin ; his farces remain, his smart sayings, while his employer sold opiates and panaceas during the interludes. These tricks flourish to-day as vigorously as two and a-half centuries ago. Homer called Mount Ida “ the father of rivers Tarbarin might be designated “the father of the kennelnot an acrobat show but has its clowns, proposing to the master, or a confrere , a burlesque question, &c. Tarbarin lays down for example, that of all trees the gibbet is the most prolific and. fruitful ; it has the property of bearing fruit within an hour after it is planted, and that without displaying either leaves or flowers, and the fruit gathered tn-day will be succeeded by other equally i i; the morrow, so extraordinary is this “ perpendicular horticulture.” M. Ferrier has simply shown us the inside of Mon dor’s tent, where the spectators applaud the play of question and answer ; by and by, Tarbarin’s”wife, Francisquine, appears on the stage ; he is jealous of her and displays his affection by cudgelling her ; she is pretty, and this, with bad treatment, makes her a ready prey for a young actor who really pities her fate ; they agree to elope, and Tarbarin has to listen to their plans concealed, as he was in duty bound by a role, inside a barrel. When he pops up his head the couple are off ; he does not pursue, but tears a passion to tatters and cries ; the greater his grief the more delighted is the audience. In the second act the wife reappears, sorrowfully demands pardon, which is accorded. Both then assure the audience, that if they took these scenes for serious they were deceived—all being in the play—the reality was only fiction. Tarbarin also juggles his hat in a strange fashion, giving it the most whimsical shapes, from a courtier’s to a coal-porter’s, and delivering a witty homily on each change. The scene is also humorous where Tarbarin proclaims the advantages of a philter for lovers, and tries

the efficacy of the elixir secretly on his wife. One act would be ample for this piece, which may be described as a monologue, as one artist (Ooquelin) monopolises the four-fifths of it. The play, in addition to being only a scene and a role, wants action, and would be more suitable for a minor theatre. The comedy was specially written for Ooquelin if not ordered by him as he would a coat, from his tailor. This practice, now making way, is reprehensible except in special theatres. These caprices of actors must be opposed, or plays will degenerate into monologues. Ooquelin believes that it is more honorable for an actor to provoke tears than laughter, and nature has refused r ’to his features and to his voice the gift of moving to tears —save those of laughter. In the original Tarbarin there is nothing approaching to “ Werther ” or “ Manfred.” It is a ciTsis that arrives to comedians occasionally, that of putting their gaiety in mourning. Sganarelle endeavors to give himself the airs of an Othello. Metamorphose impossible. The mask has fitted to its position ; the voice has taken its accent ; and the “ Yictus comique ” hollowed by use, remains on the lips as the wrinkles on the brow. Gymnase. —This house has brought out three new pieces, but which, added together, hardly make a success. *' Dubois d’Australie ” is a comedy in two acts, by M. 'Nadaud, since many years celebrated for his original and picturesque ballad compositions. He now for the first time demands a supplemental renown at the theatre. Ho has followed the receipt for making vaudevilles for the present day—to discard original ideas, and to select something already used, containing a spice of intrigue, well mounted, so that the machinery may roll well. Dubois is a young man, who has returned from the diggings in Australia, and who suffers shipwreck on sighting the mother country. On landing he is ignominuously repelled by his relatives on the first avowal of his poverty. Mile. Clemence only sympathises with his condition, she whispers confidentially and mysteriously in the ears of the relatives that Dubois is concealing his play, that his indigence is but assumed, as he has ingots of gold valued at several millions in safe keeping in America. The scene soon changes—offers of aid and declarations of affection speedily arrive from the very relatives who recently outraged him. Dubois wonders at the change, as he has not a centime anywhere. Clemence, in order to escape a forced marriage, spreads the rumor she is to inherit the wealth of Dubois ; her parents, to consult him, and to yield to his advice, permit the true lover to wed Clemence. whose husband is only too happy from several motives to charge himself with the support of Dubois. 80 years ago Alphonse Kerr recounted the same story. The bagatelle, however, pleases. La Bragonne of M. Plouvier is a piece in two tableaux played by two persons. Girard is in his box alone, enjoving the masked-ball at the opera, when the door opens, and a fair masquerader seeks refuge and protection from an admirer who asserts she is la Bragonne. Her request is granted, and after a while she removes her domino, revealing a visage, blond and pretty, of a young girl. It is Marguerite at the Sabbat; she relates that, anxious to see a masked ball, she prevailed on her governess to bring her to the opera while her parents slept, which governess she has lost in the crowd. Girard conducts her to the door of her residence, promising to see her next day in presence of her governess. Charmed by so much grace, beauty, and frankness, Girard keeps his appointment; the governess is not present, perhaps she is in the bureau for lost articles in the opera building. The young folks commence to feci a strong sympathy for one another, when the rftles suddenly become inverted; in an outburst of passion she confesses she is not the chaste young girl he believes, but a courtesan, the famous Bragonne , and prays that he will not leave her. Ashamed of being loved by such a creature, Girard immediately departs, vowing that he will never again be caught by young ladies who have strayed into an opera masked ball. The spectators appeared to regret that the surprise came too late, and disliked having its previsions disconcerted; they find nothing more disagreeable than to experience two sensations at once: they wish to understand without listening. Then the rffie of Bragonne was filled by a young pupil-actress, whom the public found to be unnaturally out of place in being charged with so cynical a role, laboring like an infant who endeavors to exhibit a big voice. Ze Chevalier Baptiste is a valet, whose master suspects his wife’s fidelity, and the wife that of her husband’s, and both employ Baptiste to watch, as by anonymous letters the proofs of misconduct will be forthcoming. Baptiste incases himself in one of the suits of armour belonging to a chevalier of old, and acting as a monumental sentry in his master’s dressing-room. Hardly has he taken up position, when the door opens, and judge of his amazement on seeing his own wife enter in company with his master, who in turn were not less amazed in perceiving the knight in complete armour descend from his pedestal, and belabor the delinquents with his spear, as if they were Saracens. It is a pochade belonging to the old. vaudeville school, and amused, especially as Ravel filled the rA!e of Baptiste.

Palais- Royal. —This theatre has also brought out a few pieces full of sparkling gaiety, but, as usual, a little broad in parts of the dialogue. “ Robinette ” is a kind of hybrid operetta, the music very bad, being speedily forgotten by the dialogues. Goulet and Grivot are two rustics, and married ; and their relations with the wives of one another partake something of a crini con. Goulet tells Mme. Grivot that he suspects her husband, and Grivot acts similarly towards Mme. Goulet ; the ladies make assignations, but instead of meeting with the rival Lovelaces, they ever encounter their respective husbands. Grivot, to finish with anxiety, challenges Goulet to a mortal duel with pitchforks, when it is discovered that all the evil results from the slanderous tongue of one “ Robinette,” a village gossip, who never appears on the st age. The action takes place during harvest time, consequently the actors are in their shirt sleeves —no mean advantage just now. The Dame an'passe-partout is a little act; lively, ingenious, and humorous. Molinchard is a banker, and has been at the Italian Opera ; his wife, taking advantage of his absence, indulges in a harmless adventure, but finds on reaching home, so as to be within when her lord arrives, she has lost her latch key. Not a moment is to be lost, Molinchard’s footsteps are heard. Hector, a mutual friend, accosts him, and begs he will accompany him to a ball, and keep a certain jealous husband who is there occupied for a few hours till his wife can find a locksmith. Molinchard consents, a Dr Jollivet is the victim to be detained by a thousand amusing

ruses. The latch key has been found ; both Moliuchard and the doctor are liberated. The latter is astonished at being taken for a married man, and Moliuchard relates Hector’s practical joke to his wife, who is only too happy to share the laugh.

Music.—For the moment new music is not plentiful, save that of a fugitive character, produced for out-door concerts. Attention seems also becoming absorbed in the preparations for the inauguration of the splendid new Opera, or National Academy of Music, and also with the re-opening of the Theatre Lyrique, destroyed by the Communists. Thus all facilities will be forthcoming for encouraging new composers and singers.

Opera Comique. —The several executions of Verdi’s “ Requiem” which have taken place at this theatre have only confirmed the public verdict as to its being a magnificent masterpiece. The principal objection urged by those who do not like Verdi’s compositions is, that his “ Requiem” is theatrical rather than religious. If it be not a religious work it is inspired by a thought eminently religious. But what is the style of religious music ? Is it that of Bach, Handel, Mozart, Cherubini, and Berlioz 7 There can be no convention in the matter of religious music, which must, as it ought, to represent the impression left on the writer from the perusal of the sacred text. Remember then Verdi’s temperament. He is, as Rossini observed truthfully, “ a musician who wears a helmet,” for he is above all a patriot representing since thirty years the stirring war-like spirit of Italy, as Bellini was the unconscious representative of the griefs of her servitude. Now-a-day’s also, painters produce their pictures intended for the Church, first at Exhibitions, as Masses similarly deatined are primarily brought out at Theatres. Is there anything more dramatic thanthe “ Dies ine,” that terrifying day when the Supreme Judge shall examine the actions of man, and Verdi makes the listener giddy from the very desolation of that sublime morceau ? It is precisely fear and supplication that predominates in Verdi’s Mass, and here he has Mozart for approval. Those who experience no emotion on hearing the “ Offertoire,” and the “ Agnus Dei,” have strange ideas about religious feeling ; they stir to tears, and Verdi induces you to kneel and adore. What sublimity, too, in that Invocation Hymn, where terrified humanity implores—supplicates the Great Judge for mercy ; a cry of supreme pity emanating from the profoundest depths of human nature. The “ Mors Stupebit,” executed by the bass, and the word Mors, repeated three times after a measured silence, causes one to shudder with fright. The “Requiem ” will be a surprise and a cause of admiration for those who only knew Verdi by “ Rigoletto ” and “ Trovatore,” by its purity of style, correctness of form, harmonious combinations, and happy instrumentation. It is beautiful to see a man of Verdi’s age, arrived at the pinnacle of artistic glory ; abjuring his past errors, and embracing with ardour the new school of Wagner; studying and achieving greater correction in style, and greater richness in expression, while ever remaining the Verdi of passion and captivating power, while still speaking the melodious language of Dante. There is no division of opinion respecting the voices of the two artistes, Mmcs Stolz and Wald maun—both Austrians ; the voice of the first may be compared to satin, the second to velvet. The higher la Stolz ascends with her notes, the more she is at ease, and never creates any anxiety as to her flight, “ Soaring, ever singest, and singing, ever soarest.”

Fashions. —What has been most particularly remarked at the late races was the rich toilets worn by the elegant world, and which completely eclipsed those displayed by the demi-mondians, who have hitherto had a monopoly in these matters. The hats were extremely pretty, as much by the richness of the trimming as by variety in form. Indeed the making of artificial flowers appears to have arrived at the final stage of perfection. This season hats seem to embellish the wearers ; there are exceptions, where ladies by not selecting w’hat suits them—the fundamental law of all fashion—appear ridiculous. Fashion creates novelties—never imposes them. Both the paola and th epaysanne hats are made in rice straw; a very beautiful Leopold Robert much worn, is composed of yellow straw, trimmed with violet velvet, raised on one side by ears of corn and a bouquet of field flowers ; tuft of same flowers at the side with a Louis XV. knot falling behind. The round hat is very much worn, but the attempt to dispense with strings is not likely to be successful, it gives the wearer too rakish a look. At evening open air concerts white muslin toilettes are in great favor; they are embroidered derai-train, with long and large waist sashes and immense buckles. The vuriasse in faille produces a charming effect upon jupes of white muslin, imparting elegance and slenderness to the figure, some are evrn ornamented with jot or blue steel pearls. The muslin robe is generally composed of a training jupe ornamented with small flounces fringed or plaited ; the cuirassc is blue, rose, or mauve, with the shawl opening and displaying a muslin niche , the sleeves are in muslin, set off by a knot assorted to the cuirasse. Foulard costumes are much in favor when ornamented with muslin plaits; the foulards are checked, striped, or spotted. English embroidery is in important request at present; no linen costume can dispense with it, and while having the air to be negligee, is specially adapted to summer tissues a little thick, with muslin or foulard, Gluny guipure be preferred. Tunics or polonaises completely composed of English embroidery are to be met with upon blue, mauve, or white cambric; when draped over a jupon of faille, or a checked foulard of the same shade, the costume has a very rich appearance. Mohair is much patronised, but it must be trimmed with taste to avoid looking vulgar. The hair continues to be well drawn up to the summit of the head, but falls at the same time more behind ; plaits have superseded the ringlets, a single plait descends from the middle of the coiffure, and falling on the neck, is taken up and retained by a bow of ribbon. This is the style— Catogan —Ringlets and curls are only for evening wear.