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.

PARIS Dec. 70, 1874.
The new opera house in Paris is probably the
handsomest building in the world OF It's kind, and
1t occupies the finest site in city which Is pre-
emipenty 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 woula see 1t to
the best advantage should walk up the Rue de 10
Paix on spring evening, and look at the last
rays OF the setting sun falling upon the golden
ayre 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. Tue gorgeous scene VIII 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-
Died by The Italian opera IN Paris since 1871, the
date Of its foundation. Cardinal Mazarln was the
0rst 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, a nobleman. who
bore a 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
NeubCurg and al his town house in the Rue Garan-
ciere 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 it 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-
Ous N m n
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 Paais Royal, which was in possession OF
Noleres 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, large sum In
those days, and with this money they leased a
tennis court In the Rue des Fosses de Nesle, now
Rue Mazarin, where the first opera house was
erected. Its architect was Guichard. 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 few beams to prevent 1t tumbing 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 q run OF one hun
0red nights which lasted during eight months, per-
formances only taking pace three times week.
II had transformation scenes and mechanical ap
pliances 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 1t. Mean
Zine Lully, who had been composing music for
she ballets danced at Court had watched the rise
or the new opera with feelings OF envy and he
Immediately pronted by the squaDble 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, 80 that the
Arst opera IN Paris was closed after little more
than one years. performances.
new privilege was now granted to LuIly, but
6ourdeac and Chanperon still held possession Of
their lease, and would not give nc up. Lully
therefore rented another tennis court, in the Rue
de Vanguard, near the Luxembourg, and the
architect vlgaran1 built q new opera house there
fer him ana Perrin. This theatre was opened ON
abe 18th November. 1872, by piece entitled
FEsTEs DE DAMoUR ET DE BACCHUs
The music was taken by Luly from that which
had already been played before the Court and en-
were by
MOLIERE. DE QUINAULT EFT DE BENSERADE.
This opera mouse, however, having been Quilt as
hastily as its predecessor. gave such unmistakable
signs or being about to tumble down that Lully,
VINO was iavorite at Court, obtained grant OF
she saloon a5 The Palais Royal from the King ter
she death Of Moiere. That saloon had been con-
2ructed in 1867 by Lemercier the right wing Or
the palace, which faces the Rue ST. Honore. 1t
was originally intended for ball room, and the
mere TRANSPORT OF the beams which upheld 1t cost
$1,000 Luly had it fitted up with two tiers OF
boxes and a 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 80 badly lighted that 1t was neces-
cary to provide the prompter with o small taow
candle without which he could no. see. The stage
was very narrow and there was no space beneath
for 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 1868. 1t met with what appears
70 be the inevitable late 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
che Tuleries, erected vast theatre attached to
che Pavilion Marsan. 1t 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
Ing OF tie opera It was used Professionally as a
refuge for the company which had been driven
from the Palas Royal, aud q series of concerts
were given there till 1t was opened as on opera on
Che oath OF January 1854. IL was an immense
building. which had cost $50, 900 In construction.
and both singers and spectators were quite lost
m 1t. 1t continued to be used as an opera house
till 177o twenty-five years later the slttings OF
the national conventions were held there.
Meantime second opera house. built by Moreau
at cost OF $4,000, had been erected at the
Pala,s Royal. Here were represented