Chapter Two Third Republic Paris The poster for Offenbach’s Le Roi Carotte, from Le Théâtre (1 September 1904) Author’s collection would call “spectaculars” or “extravaganzas.” But the piece was not all froth: the li- bretto by Victorien Sardou satirised the folly of idealistic governments in much the same way Gilbert and Sullivan later did in The Gondoliers. In line with the policy of the Gaîté, the piece contained a substantial number of scenes, and Of- The Franco-Prussian War destroyed the French Second Empire and left the fenbach not only provided a large-scale ballet but scored for a much larger or- French capital in a state of political and cultural shock. A way of life had gone for chestra than for the Bouffes-Parisiens or the Variétés. Not least of its attractions ever, and frivolity and gaiety were never again as unrestrained as they had been was Offenbach’s newest leading lady, Anna Judic, whom he had imported from under the old regime. Now, it appeared, something a little more substantial, a lit- the Eldorado café-concert, where she had come to prominence in the short op- tle more romantic was wanted from the musical theatre. erettas that were part of an evening’s fare. In spite of his German origins, it was still to Offenbach that the public Meanwhile, Fantasio appeared at the Théâtre de l’Opéra-Comique just turned first. His old favourites were revived; but now he also sought to retain his three days after Le Roi Carotte. But not even an established play by the respected audience with a variety of new productions. Le Roi Carotte (King Carrot, 1872) Alfred de Musset and the presence of famed mezzo-soprano Célestine Galli- was produced at the Théâtre de la Gaîté, which specialised in féeries, which we Marié in the leading role (en travesti) were enough to win Offenbach acceptance {22} Third Republic Paris {23} in serious opera circles. On the other hand, the Théâtre de la Renaissance achieved something like the old Offenbach success with La Jolie Parfumeuse (The Pretty Perfumier, 1873). It told of a rich financier’s attempt to seduce a newly married woman on her wedding night. Only after much confusion and mistaken identi- ties does the financier’s mistress restore the young lady to her husband and marry the financier herself. If Offenbach’s music sparkled less consistently than in earlier days, the Parisian public was much taken by the sight of another recruit from the music halls, Louise Théo, starring in various states of dress and undress. The Théâtre de la Renaissance enjoyed another success with Madame l’Archiduc (Madame Archduke, 1874), in which Anna Judic played a hotel worker to whom an Archduke cedes his position in the hope of seducing her. The “Alpha- bet Sextet” was the big hit. Meanwhile, at the Variétés, La Vie parisienne was re- vived in 1873 with José Dupuis as the Baron de Gondremark, and in the following year a refurbished La Périchole, with a whole new act, was put on. This is the form in which we know the work today; it includes “Tu n’es pas beau, tu n’es pas riche,” which was the last of the exquisitely shaped songs that Offenbach composed for Hortense Schneider and that rank among the highlights of his musical output. Henri Meilhac and Ludovic Halévy collaborated with Offenbach again on La Boulangère a des écus (The Baker-Woman Has Money, 1875). The piece was designed for Schneider, but the temperamental diva was replaced shortly before the première. It still enjoyed some success with her replacement, Marie Aimée, as a baker who has become rich by dabbling in stocks and shares. The cast also Poster by Jules Chéret for the 1874 revival of included Dupuis as a hairdresser and Paola Marié, younger sister of Célestine Offenbach’s Orphée aux enfers Galli-Marié, as his sweetheart the barkeeper, as well as Offenbach stalwarts Jean Bibliothèque et Musée de l’Opéra, Bibliothèque Nationale de France, Paris Berthelier and Léonce as a pair of comic constables. The run was prolonged when Offenbach added a new role and some extra numbers for the great café-concert performer Thérésa. But it proved the last work on which the three master creators la lune (The Journey to the Moon, 1875). This last had Zulma Bouffar in trousers of operetta were to work together. as a lunar voyager in a piece inspired by Jules Verne’s novel De la terre à la lune Offenbach had now taken over the management of the Théâtre de la (From the Earth to the Moon). By now deep in debt (owing to losses suffered Gaîté, with the intention of staging expanded versions of earlier successes in the on the productions), Offenbach was forced to sell his interest in the theatre and spectacular féerie style. For the revised Orphée aux enfers (1874), the four origi- undertake a variety of money-making projects, including a concert tour of the nal scenes were turned into four full-length acts, with three interpolated ballets. United States in 1876. Several new pieces were added, and the chorus now numbered 120 and the corps Offenbach’s financial plight also meant that he was composing for as de ballet 60. Its success was considerable; but it was also expensive. Offenbach many theatres as would take his works. Inevitably, he began spreading his genius could not keep up this standard of production, although he tried, first with a Sar- too thin. At the Bouffes-Parisiens, La Créole (1875) came and went; even Judic’s dou play, La Haine (Hate, 1874), for which he wrote incidental music, then with presence could not make a success of it. Less successful still was Le Docteur Ox a further revised Geneviève de Brabant (1875) and the spectacular new Voyage dans (1877), a science-fiction piece which again hoped to capitalize on the public’s fas- From Offenbach to Lehár Third Republic Paris {24} {25}.