Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1861-03-19
Behind the Scenes of the Opera Olsen
cbantment Of the Artists.

Behlnd tbo scenes OIL the OpGfa -Dl0en-
chantment Of tue Artists.
A Paris correspondent writes in a late let
ter:
Under another form, the proverb which
declares that no man is a hero to his valet,
applies to the opera. People who have been
behind the scene of a theater know how dis
enchanting is the aspect of the canvas palaces
and the pasteboard banquets, which produce
so fine an effect from the boxes. The reality,
closely scanned, destroys the illusion as
quickly here as elsewhere. The beautiful
and graceful nymphs, whose. agile move
ments in the ballet are greeted with a storm
of braves, must not be supposed incompar-
able types of female loneliness, until the en-
raptured spectator has had an opportunity to
test his ardor by near inspection.
The finest paintings show to best advant-
age in handsome frames, and many an exc
cradle daub has been sold for ten times its
value, on account of the gliding around it.
The frame of the opera dancer is the green
room, Just before the rising of the curtain, or
the stage, during the performance of the bal
let. In the green room, the danseuse is
armed and equipped, prepared to resist the
attacks of her enemies, or receive the court
of her admirers. She has just left her dress
ing room, and shines in all the splendor of
her meretricious beauty. Wait until she has
dancedl
The curtain rises, and she hastens to one
of the stage entrances, in order TO be ready at
the proper moment, to glide gracefully be-
fore the audience. Presently you hear a
round of applause, and you know the favorite
is dancing. A hundred bouquets are flung
at her feet, her adorers cry 'bravor' lin spite
of the Italian grammar, and she is in a sea of
glory. Before the ballet during the
ballet-the existence of the danseuse is a
scene of triumphs. The word 'after' should
be erased from her vocabulary. Aftsr the
race, the full blooded horse, covered with
foam, still trembling with ardor, his eyes
flashing and his nostrils palpitsting, only
evokes increased admiration.
AJter the combat, the soldier, his face
blackened with powder, his uniform in tat
tiers, his moustache singed, and his musket
bent out ofall shape, is a far finer spectacle
than in his smartest dress on parade. Not so
the o~pera-dancer. After the bullet, she is
exhausted, gasping for breath, and can
scareely stand. The paint on her face has
mingled with the perspiration which bursts
from every pore, and gives her an appear
ance which would be ridiculous, if it we're
not pitiable. Her eyes are haggard, her lips
move systematically, her hair falls in disorder
over her shouldeTs-what q sight
NoqV is the time to introduce the silly fell
low who thinks of committing suicide, for
love of the fascinating creature he has never
seen except behind the footlights. If he
could catch a glimpse Of his inamorata at the
moment the curtain falls, and she staggers
back to her dressing room, the spectacle
would probably effect an instantaneous cure
of his foolishpassion. To disgust the young
with the vice of intemperance, it was the
practice of the Spartan Ephori to cause
drunken slaves to be led through the streets
of the city. To counteract the effects of bal
let beauty upon the susceptible simpletons,
the l~oveliest of the terpsichorean nymphs
should be led before the curtain, at the close
ofthe performance.