The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1870-12-07
Opera nouae and tho French Nation.

Opera Houfe and tho French Nation,
Ofenbach, though not Frenchman by race,
Is one by nature. ln his operas boutes he has
hit the taste and reflected the character Of the
French--.hat is, the French of Paris and the
other cities OF France-and to great extent
the French everywhere. These op5yas 6oufes
are gay, light, sensual and frivolous and are
made attractive by the refinement Of art in
music and the spectacle. The immortality and
demoralizing influence were hidden in part, as
the vice Of Paris has always been, by a sort of
gay and refined a6andon. Thus the grossness
and bad effects are lost sight of in great
measure except to minds of thoughtful and
serious turn. But apart from the sparkling
music how frivolous and trashy is the opkr0
5oudc. Take, for instance, Lies Brigands,"
aow performed at the Fisk Opera House.
What mass Of nonsense In place Of wit or
genuine humor there is nothing but monkey
like grimaces and contortions, and these very
much overdone, to catch the applause
of silly young men and sensual ''old
boys" 1t is the veriest childishness,
without the freshness, simplicity and origi
nality pertaining to children. 1t is not whit
better than, if as good as, the monkey shows
In the streets. We are happy to say that
not many Am ,rican ladies attend these specta-
cles. The audiences are composed mostly Of
gay youths and ''old boys" These operas
3ouDes are imported from France, where they
became popular, and have had brief run
here with the cosmopolitan population Of our
city, but they are neither indigenous nor
adapted to America. Indeed, we should be
sorry to think they could become permanent
amusement To our people.
But the point we would make is how can a
nation which is pleased with rattle and
tickled with straw" maintain its position in
this practical and earnest age of the world ?
A nation, the most striking characteristics Of
which are frivolty and sensuality, however
these may be covered up by art or species Of
refinement, must fall back before the more Sc
rious, practical and earnest nations. Opera
b0ufe, either in the theatres or In political
and social life. Is not in accordance with
the spirit of the age and can only be
shortlived. The Emperor Louis Napoleon
was the master and greatest actor OF
opera 6ouDe in political affairs. He was
always acting a part, and rarely ingenious,
truthful or honest in what he said or did. His
fall was the consequence. The republican
provisional government Of France, though
much more in earnest, and having good reason
to be 80, is following to some extent his
example. Ia place of truth, sincerity and
looking at the stern facts before it directly in
the face, wa see great deal of gasconading,
pretence and deception. This is, in fact, q
sort of op ra doute in war, though Invested
of much Of the silly frivolity Of what is seen
in the theatre. Need we wonder, then, that
the French have been overcome by the blunt,
earnest, sober and practical Germans? None
admire tho courage, fine taste, artistic skill,
refinement, scientific achievements and theo-
retic progressive ideas of the French more
than we do Indeed we should regard the
disruption OF this nation, which possesses so
many hue qnalties-quaii.ies 50 useful to our
modern civlzation-as a great misfortune to
the world. Nor can we look upon the relent-
less and unnecessary war of monarchical
Prussia upon the nascent republic of France
without reprobation. Still it is evident that the