The New York herald., 1870-08-22
MUSICAL REVIEW.

From Henzel Co., Paris through Schuberth &
Co., New York. comes "Le Petit Fausu opera
b0ufTe In three acts by Herve The two first operas
OF this composer which were produced In this city
under Mr. Grau's management. "L'HJ Creve" and
"Chlperic,r were Of more sterling WORTH from
musical point Of view, than all the works OF Ofren-
bach put together But the latter gained much OF
his popularity and success over the shoulders OF his
clever lbrettists, Messrs. Meilhac and Haley. "Le
Petit Faust" has at least more Ineligible bretto
than either OF It's predecessors and the music Is OF
lighter and more popular character. Like "Chi
perlc," the overture waltz, although inferior TO
its predecessor which Is worthy Of Strauss himself
The themes OF both waltZes excellent, and either
would pe a favoritc in the ballroom. A chorus of
boarding school misses opens the OPERA which,
being merely fragmentary, calls for no remark
brlef galop theme. IN MINOR Key, and
conclude this first number. Faust (comic TENOR,
makes his bow In some charming coupets, and
a very clever march introduces Valentine and his
warriors. The gallant soldier recOunts the deeds OF
herOlsm which await him, and speaks OF the sorrow
OF parting from all whom one holds dear The cho-
rus interpolates the funniest KIND OF remarks-when
Valentine sings, The soldier, IN gong to the field,
bids adeu to his mother" and the chorus remark,
soto UOce, land supposlng he has no mother" The
march theme Is spirited and good and occurs fre-
quently throughout the opera. Marguerite's first
air is charming melody IN nine-eight time with
sort of Tyroean la! la la The second part OF t is
Tyroenne through. and an excellent one at that.
The succeeding duo for Faust and Marguerite is a
good specimen or dialogue In music, although the
sense OF the words would not, we think, be palat-
able to American ears. Mephsto makes
his or her appearance in merry rondo,
I'm which, honest than his prototype,
ne announces his real name and occupation.
There IL a spice OF Satanic malice and mischief
about the measures OF this rondo whicn will make
II feature In the opera when well sung. The finale
OF this act Is genuine cancdn. gaop theme. winch
has an irresistible tendency to elevate the toes, IL
not the mind. The introduction to the second act
contains an exceedingly pretty polka, with flute
variations. The opening chorus IL a schottlsch
theme, OF popular character. Mephisto then sings
attached TO It, and Faust gives the polka theme In
troduced In the beginning OF this act. The best
part of the opera Is probably the waltz OF all
nations, which constitutes the overture and which
again occurs here, with full full chorus and varla
tons. Marguerte's couplets about the washer
woman are very funny, and are followed toy a trlo
OF Fatherland "a well known German aed)
and a capital bur,esque on the grand opera
in the duel scene Marguerites despair and
her brothers reprOaches are ceveriy bur
music suddenly jumps into cd1icdn measure, with
which the act concludes wedding chorus conf
mences the third act and Is followed Dy burlesque
on GOunods King or Thule. The female chorus
Vestals) has popular, stirring ring about It, After
song by Mephsto and refrain OF the battle song
champagne Chare.n The hymn 10 Satan, which
conoludes the opera, is a fine, brilliant chorus.
remarkable feature about the opera Is the beauty
and variety OF Its Instrumentation Mr.. Herve
handles the orchestra with rare skill and never
allows monotony for an instant TO mar II. This
House and Kelly Icons theatre this fall A care.
1ul examination OF II does not change our opinion
| formerly expressed that the music VI "L'Oli
! Creveh IA the best eYer wrltten by Uerye.