580 



MUSIC, PROGRESS OF, IN 1888. 



music by Siegfried Ochs (Hamburg, Stadt- 

 theater, November 3), met with a kindly re- 

 ception. " Die Konigin von Leon," romantic- 

 comic opera, by V. E. Becker (Nuremberg, 

 November 15), obtained a fair success. " Le 

 Diable a Yvetot," by Gessler, libretto by Paul 

 Stark (Rouen, Theatre des Arts). " La Fau- 

 vette du Temple, 1 ' by Andre Messager (Brus- 

 sels, Alhambra, January 26); the work is very 

 attractive, and received much applause for its 

 mise en scene as well as its clever interpreta- 

 tion. "La Perle de Brimborio," by Castelain 

 and Coupin (Marseilles, in February), with 

 great success. " Les Reservistes," by Felix 

 Boisson, libretto by E. Le Roy (Chalons-sur- 

 Marne, in February). " Le Diner de Madelon," 

 by Maurice Lefevre, libretto by Desaugiers 

 (Brussels, Theatre de la Monnaie, March 6); 

 the audience found the " diner " much to its 

 taste, especially as it was extremely well served 

 by the artist waiters. " Le Bossu," in four 

 acts, by Charles Grisart, libretto by Bocage 

 and Livrat, after Paul Feval's novel (Paris, 

 Theatre de G;iite, in March), was a fair suc- 

 cess. "Le Puits qui parle," by Edmond Au- 

 dran, libretto by Nuitter, Beaumont, and Bu- 

 rani (Paris, Theatre des Nouveautes, middle of 

 March), found great favor, and will probably 

 continue on the repertory. " Une Aventure 

 d'Arlequin," by Paul and Lucien Hillemacher, 

 libretto by Judicis (Brussels, Theatre de la 

 Monnaie, March 22), was fairly successful, the 

 music being fine and spirited, while the libretto 

 proved rather dull, and the performance was 

 only moderately good. " Le Dragon de la 

 Reine," by Leopold Wenzel, libretto by Pierre 

 Decourcelle and Francois Beauvallet (Brussels, 

 Alhambra, March 23), was given with signal 

 success, well deserved by the attractive music 

 and the interesting libretto, which is fre- 

 quently amusing; the time of action is 1736; 

 mise en scene and ballet were above reproach. 

 "Le Baiser de Suzon," by Herman Bemberg, 

 text by Pierre Barbier (Paris, Opera-Comique, 

 June 4), succes cfestime. "L' Amour an Vil- 

 lage," by Emile Camys, libretto by Albert 

 Reandel (Paris, Menus-Plaisirs, in July). " Le 

 Bouquet," by Chaulier, libretto by V. Duleron 

 (Boulogne-sur-Mer, in August) was well re- 

 ceived. "L'Heritage de Chaudebec," by Bag- 

 gers, libretto by Riesse (Vichy, in August), 

 with fair success. "Nella," by Sudessi (Bag- 

 neres-de-Luchon, Theatre du Casino, in Au- 

 gust). "L'Escadron volant de la Reine," by 

 Henry Litolff, libretto by D'Ennery and Bre- 

 sil (Paris, Opera-Comique, December 14), had 

 only a succes (.Vestime. " Isline," fairy opera, 

 by Andre Messager, libretto by Catulle Men- 

 des (Paris, Theatre de la Renaissance, last 

 week in December), afforded much pleasure to 

 connoisseurs. " The Yeomen of the Guard," in 

 two acts, by Arthur Sullivan, libretto by Gil- 

 bert, after Victor Hugo (London, Savoy The- 

 atre, October 4), conducted by the composer, 

 who, with the librettist and the representatives 

 of the principal roles, was called at the close 



of the performance and overwhelmed with 

 applause. As the work was soon after given 

 in this city at the Casino, and held that stage 

 for several months, New Yorkers are suffi- 

 ciently familiar with its subject and music to 

 need no commentary. " Babette," by Gustave 

 Michiels, libretto by Ordonneau and Verneuil 

 (London, Strand Theatre, Jan. 26). " Carina," 

 by Julia Woolf, libretto by F. L. Blanchard 

 (London, Opera-Comique, in October), met with 

 a friendly reception. " La Serenade," by J. 

 Batchelor and O. Gaggs, libretto by Lucke 

 M'llale (Manchester, Prince's Theatre). "The 

 Grand Duke," by Tito Mattei, libretto by Far- 

 ney and Murray (London, Avenue Theatre). In 

 Italy appeared "II Grembiulino rosa," by Dr. 

 Azzo Albertoni, who also wrote the libretto 

 (Castelfranco, Venetia, in spring), witli great 

 success; "I Cerretani," in three acts, by Ri- 

 naldo Caffi (Cremona, Teatro Ricci) ; k> Papa 

 Martin," by Cagnoni (Rome, Teatro Nazionale, 

 in June) ; " Gli Studenti," by Rota (Bologna, 

 Teatro Contavalli, in October) was very favor- 

 ably received; "Una Tazza di Te," by Sca-j 

 rano. libretto by Ugo Flores (Turin, Circolo 

 Artistico), met with considerable applause. 



Operettas. "Mam'zelle Crenom," by Leon 

 Vasseur. libretto by Jaime Duval (Paris, Bouffes- 

 Parisiens, January 19), pleased particularly 

 because of its amusing subject. " La Voliere," 

 by Charles Lecocq (Paris, Theatre des Nou- 

 veautes, February 8). " La Belle Sophie," by 

 Edmond Missa, libretto by Paul Burani and 

 Eugene Adenis (Paris, Menus-Plaisirs, April 

 11), with moderate success. " Le Valet de 

 Coeur," by Raoul Pugno, libretto by Paul 

 Ferrier and Charles Clairville (Paris, Bouffes- 

 Parisiens, between April 15 and 22), was much 

 applauded. " Le Masque de Velours," text and 

 music by Prosper Morton (Laval, May 18). 

 ' Miette," in three acts, by Edmond Audran, 

 libretto by Maurice Ordonneau (Paris, Theatre 

 de la Renaissance, in September), with an 

 indifferent result. " Oscarine," by Victor 

 Roger, text by Nuitter and Albert Guinon 

 (Paris, Bouffes-Parisiens, October 16), with 

 fair result. " La Gardeuse d'Oies," by Paul 

 Lacorne, text by Leterrier and Vanloo (Paris, 

 Th6atre de la Renaissance, October 26), was 

 well received. " La Petite Fronde," by Au- 

 dran, libretto by Bisson and Duru (Paris, Folies- 

 Dramatiques, middle of November). " La 

 Veillee des Noces," by Frederic Toulmouche, 

 libretto by Bisson and Bureau- Jettiot (Paris, 

 Menus-Plaisirs, end of November), earned 

 much applause. " Le Mariage avant la Lettre," 

 by Olivier Metra, libretto by Jaime and Duval 

 (Paris, Bouffes-Parisiens, December 5), was 

 given with doubtful success ; the music of the 

 popular dance composer, to Avhich the Paris- 

 ians had looked forward with great expecta- 

 tions, pleased only partially and was powerless 

 to elevate the disreputable libretto. " L'En- 

 tr'acte," by Andr6 Martinet, libretto by Ma- 

 xime Boucheron (Paris, Cercle de la Presse, 

 last week in December), was received with ap- 



