The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-11
An Interesting History Of the
Opera in France.
"A PALACE OF PLEASURE.
Eight Thousand Four Hun
dred Jets Of Gas.
Prodigality Of Ornamentation-
Sculpture and Painting.

The new opera house in Paris is probably the
handsomest building in the world Of Its kind, and
It occupies the finest site in city which Is pre-
emipently the capital OF Continental Europe, the
home OF taste and the home OF pleasure There
are few sights upon earth more picturesque and
splendid than the first view OF this magnificent
temple OF music traveller who wouln see 1t to
the best advantage should walk up the Rue de la
Paix on spring evening, and look at the last
rays OF the setting sun falling upon the golden
lyre held alofr on the summit OF the roof by
Apollo, while angels spread their radiant wings
and seem to sing aloud to heaven upon every
side. the gorgeous scene Will burst upon him all
at once as he turns the corner opposite the Rue
Au Sophomore, and certainly 1t has no equal in
architectural and sensational beauty.
This noble structure is the twelfth theatre occu-
pied by The Italian opera Paris since 1871, the
date OF its foundation. Cardinal Mazarln was the
nrst person who introduced this species of
amusement into France, ana he caused several
italian operas to be played and sung before the
Court, without scenic decorations Perrin then
took up the subject, under the patronage OF, or
possibly in partnership with, nobleman. who
bore somewhat singular name for musician.
HE was called
MARQUIS DE soURDEAC
and he had great love for the mechanical arts.
The operas therefore produced at his Castle OF
eiere were set OF by scenery and mechanical ap-
.pliances OF his own invention. Cardinal Mazarin
took lively interest in the enterprise, but his
death, which happened soon afterward prevented
italian opera from being performed in public for
some years, and 1t was only on the 2Sth OF June,
1669 that Perrin succeeded in obtaining letters
patent, which authorized him ITO have repre-
sented and sung In public operas or representa-
Ions in music and In French verse;
There were at that time but three theatres in
Paris and the Italian singers were Obliged to
make arrangements sometimes with one and
sometimes with another Of them, playing now at
the Palais Royal, which was in possession Or
Nohere's company, and now at the Hotel de Bour-
gogne, occupied by the Kings actors. Perrin and
Sourdeac were soon Joined IN their speculation by
LAURENT DE BERsAC, sIEUR DE cHAMPERoN,
. rich man, who lent them $500. q large sum In
those days, and with this money they leased
tenn1s court in the Rue des F0sses de Nesle, now
Rue Mazarin, where the first opera house was
erected. Its architect was Guchard. 1t was COM
pleted In the short space OF i've months, and
opened on the 10th OF March, 1871. 1t seems to
have been made Of nothing but lath and plaster,
with q few beams to prevent it tumb!ing down,
and the spectators in the pit, which now includes
She stalls. were obliged to stand up.
THE FIRST OPERA PERFORMED IN PARIS
was called "Pomone," and had a run OF one hun
0red nights, which lasted during eight months, per-
9Ormances only taking pace three times week.
II had transformation scenes and mechanical ap-
Dances which must have seemed marvellous 200
years ago. Bottles new about as though moved
by invisible power, angels and spirits descended
npon clouds and eighteen persons we're taken up
into the air by machinery. The success OF this
new entertainment was immense. and the man
ayers made SO much money that. OF course, they
began to quarrel about their shares OF it. Mean
lime Lully, who had been composing music for
she ballets danced at Court, had watched the rise
OF the new opera with feelings OF envy, and he
Immediately pronted by the squaDbe among its
directors to make private bargain with Perrin
An order was then obtained from the King annul-
ling the letters patent given to him. 50 that the
1irst opera IN Paris was closed after little more
(1han one years. performances.
new privilege was now granted to Lully, but
6ourdeac and ChaLperon still held possession OF
fheir lease, and would not give 1T up. Lully
therefore rented another tennis court, in the Rue
de Vanguard, near the Luxembourg, and the
architect Vigarant built q new opera house there
1er him ana Perrin. This theatre was opened ON
abe 18th November 1872 by q piece entitled
FEsTEs DE DAMOUR EFT DE BACCHUs.
The music was taken by Lully from that which
had already been played before the Court and en-
tirely composed by himself. The words sung to 1t
were by
MOLIERE. DE QUINAULT EFT DE BENsERADE.
This opera mouse, however, having been Quilt as
hastily as its predecessor. gave such unmistaKable
signs OF being about TO tumble down that Luly,
VINO was iavorite at Court, obtained grant Of
she saloon at the Palais Royal from the King al ter
She death Of Moere. That saloon had been con-
structed in 1857 by Lemercer on the right wing Or
the palace which faces the Rue ST. Honore. 1t
was originally Intended for o ball room, and the
mere transport OF the beams which upheld it cost
$1,000. Luly had 1t fitted up with two tiers OF
boxes and gallery; the spaces between served as
promenade and were not provided with seats.
The ground tier OF boxes communicated with the
stage and were let at the highest price. 1t seems
90 have been so badly lighted that 1t was neces-
cary to provide the prompter with small tallow
candle without which he could no. see The stage
was very narrow and there was no space beneath
Tor mechanism.
In the early days Of the Regency, therefore.
arose question as to the building OF an opera
house worthy OF the name, but money was not
plentiful and the scheme came to nothing. The
Royal Academy of Music was thus obliged to re-
main at the Palais Royal for ninety years, when.
on the 10th April 1853, 1t met with what appears
TO be the inevitable tate OF theatres, and the
prompter with his tallow candle were burnt out.
During the minority Of LOUIS XIV. Levau the
architect who was intrusted with the building OF
the Tuileries, erected vast theatre attached to
she Pavilion Marsan. It was inaugura:ed by the
REPRESENTATION OF PSYCHE" IN 1911,
and several ballets were performed there during
she childhood OF Louis XIV. In 1873 Servandony
was permitted to produce his grand spectacular
pantomimes there. ana the place acquired tho
name OF the Sale des Machines. After the burn. d
ing OF tie opera 1t was used Professionally as q
refuge for the company which had been driven
ND aarfa Of
were given there till II was opened as an opera on
che Gath OF January, 1764. i. way an immense
building. which had cost $4,000 In construction.
and both singers and spectators were quite lost
IN 1t. 1t continued to be used as an opera house
Fill ITO. Twenty-Five years later the slttings OF
the national conventions were held there.
Meantime q second opera house, built by Moreau
at cost OF $47o,OOO, had been erected at the
Palais Royal. Here were represented