New Orleans daily crescent. [volume] ([New Orleans, La.]) 1851-1866, 1852-11-18
THE FRENCH OPERA.

do not circulate the ssfayorite and customary
Journal
THE FRENCH OPERA.
Yesterday, after q long passage, the Belle
Assse arrived at this port from Havre. She
had on board Mr.. Davis, manager Of the French
Opera, and the following artistes Messrs.
Bordas, First Tenor Grand Opera; Delavarde,
First Tenor Grand Opera Puctte, First Tenor
Comic Opera; Ludoric, First Lover of Vaude-
vile; Provost, Leader of the Orchestra; Mmlle
Paola, Prima Donna; Nine. Leontie, First Du-
gazon; Mmlle. Margueiette, Second Dugazon.
The following had previously arrived: Mines.
Widemann, Prima Donna Contralto; Fleury-
Jolly, Prima Donna Soprano; Darmont, First
Part Comedy and Drama; Richer, Second Part
of Comedy and Drama Messrs. Genibrel, First
Bass Grand Opera; GRAFT, Second Bass; Dig
net Baritone; Matthew, Pere Noble; Menehant
First Comic; Lemoul, first part of Drama and
Comedy; Mondart, second part of Drama.
This troupe-one of the best which could
have been possibly secured-will appear before
the public of New Orleans, on Monday next in
a grand opera.
| We have frequently spoken of the French
Opera (Orleans Theatre) as decidedly the
choicest resort in our city for those in search OF
pleasure or amusement. The perfect order and
decorum Of the audience at the Orleans Theatre
the respectful bearing of the performers, and
their well-studied aptness in their parts leave
us but little inclination to criticism. This sea-
son the artistes rank so highly and the mana
ger has given such indications of liberal spirit
| that we wish it were contagious in other quar-
tiers, and feel warranted in bespeaking CORES
ponding lberality of public patronage.
In no other,city of the Union does the opera
find as full and practical appreciation as it does
here. Here it is genuine and unpretending in
NewYork or Philadelphia it is matter of fash
ienable eccentricity. In our other theatres, we
| find Eve must confess) class of actors, imposed
upon the public, because it is imagined that, in
| NewOrleans, good or bad actors must command
| an audience. The managers calculate that
our large floating population must patronize
their establishments in order to get through
with an evening. Under this ssforegone conclu-
sion," during the last season, at the st. Charles
an habitually inebriated actor was nightly per-
mitted to insult and disgust the audience, whilst
| from the Varieties, Mr.. Manager Placide poured
"placard' blackguardism upon the Judges OF
our Supreme Bench, and his deputy, Mr..
Bass, indulged, on the stage, in some of the
lowest and most ribald defamation which
could possibly be imported from NewYork
Five Points Oyster Stew House. If these
parties again present their faces to u New
Orleans audience, the composition of brass in
a., In u
When the stage of theatre is made the arena
Of blackguardism, and when the money received
from the public is used in circulating black
guardisms upon the Supreme Court of the State,
we think it questionable if the manager Of such
place should receive one dollar of patronage
until he has made ample and satisfactory apol-
ogy to the public. So long as his stage was the
arena of abusive personalities, we certainly
should not carry any lady to the establishment
and we presume no gentleman would submit a
lady to such an ordeal as she might expect at it.
At the Opera there is no danger Of anything
of this kind. The manager appears to know his
business, and the artists appear to know theirs
The Opera is the most refining and intellectual
Of all other amusements. 1t combines art and
the impression of sentiment. 1t purifes whilst
it recreates. 1t instructs whilst it whites away
an evening. The cultivation of music prospers
in it's influence. The evenings are decorous and
innocent in its enjoyment. After it we sleeI
with no ghostly memory Of q murdered Shaks-
peare. And if there be influence in music, the
scenic display strengthens and the actors arr
WHITES it in the heart and soul of every listener
and spectator.