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André Messager's name is chiefly associated in England with work of a lighter character, but it must not be forgotten that he is the composer of two of the most charming opéras comiques of modern times, 'La Basoche' and 'Madame Chrysanthème' .
In Music-Halls, the East-End was as rich as the West, was it not the same talent that appeared at both, like Sir Boyle Roche's bird, winging its way from one to t' other in cabs? Those were the days of the great Macdermott, who gave Jingoism to English history, of the great Vance, of the lion comiques, in impeccable shirt-fronts and crush hats.
Strictly speaking, the operas of Méhul and Cherubini should be ranked as opéras comiques, by reason of the spoken dialogue which takes the place of the recitative; but the high seriousness which continually animates the music of these masters makes it impossible to class their works with operas so different in aim and execution as those of Grétry.
6. de la Porte St. Martin. 8. du Vaudeville, Rue de Chartres. 9. Montansier, Palais du Tribunat. 10. de l'Ambigu Comique, Boulevard du Temple. 11. de la Gaiete, Boulevard du Temple. 12. des Jeunes Artistes, Boulevard St. Martin. 13. des Jeunes Eleves, Rue de Thionville. 14. des Delassemens Comiques, Boulevard du Temple. 15. sans Pretension, Boulevard du Temple.
One morning there was a violent ringing at Mlle. Atala's bell. Her mother opened the door and recoiled in terror. It was Frederick. He entered, dropped into the chair that was handiest to him, and said to the old woman: "Don't be afraid, I haven't come to kick your , I have come to weep." THE COMIQUES September, 1846
There was still a chairman with a hammer, who accepted champagne from favoured mortals, stout gentlemen with gold chains, who might even aspire to conversation with the comiques themselves. Sic itur ad astra. Now there is only a chairman of directors who may, perhaps, scorn to be seen in a music-hall: a grave and potent seignior whose relations with the footlights may be purely financial.
But it is when we turn to the humour of life, even in its most sordid tragedies, that his real strength appears. "Quelle richesse inexprimable" says Lavater again, and no less justly "dans les scènes comiques ou morales de la vie."
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