Véronique (operetta)

The opera, set in 1840 Paris, depicts a dashing but irresponsible aristocrat with complicated romantic affairs, eventually paired with the resourceful heroine.

Before working with Messager, Vanloo had collaborated with Offenbach, Lecocq and Chabrier,[3] and Duval had written a succession of musical and non-musical comic pieces since the mid-1870s.

[4] The stars of the Théâtre des Bouffes Parisiens company, Mariette Sully and Jean Périer, were well known and popular figures with Paris audiences, and among the supporting players were singers familiar from Les p'tites Michu, including Maurice Lamy, Victor Regnard and Brunais.

Old Monsieur Coquenard, who flirts with the flower shop girls, is hoping that, despite his incompetence with a sword, his nomination to be a captain in the Garde Nationale will arrive soon.

When Florestan complains that he must leave Agathe for a simple girl from the provinces, Hélène vows to take revenge on him, although she finds him handsome.

"Véronique" succeeds in gaining Florestan's attention, to the annoyance of Madame Coquenard, whose husband also shows interest in the new flower girl.

Following a donkey ride and courting on a swing, Florestan decides that he is in love with Véronique and that he will not attend the ball that night; he sends away the carriages.

Now, to complete the trick, Hélène and Ermerance borrow their servant's cart to return to Paris, leaving a letter for Florestan from Véronique apologising for her departure and suggesting that they might meet again soon.

[8] The work made its first appearance at the Opéra-Comique on 7 February 1925 in a one-off charity performance featuring Favart, Baugé and Tarriol-Baugé, conducted by Albert Wolff.

[16] The principal players were Rosina Brandram (Ermerance), Sybil Grey (Aunt Benoit), Fred Emney (Loustrot), Kitty Gordon (Mme.

[14] A New York production opened at the Broadway Theatre on 30 October 1905, featuring Vincent, Rea, Gordon and John Le Hay.

Messager conducted the first night, but The New York Times nonetheless wondered how French the piece remained after two years of continuous anglicisation by its English performers.

"[25] The New York Times found Messager's "distinction and facile grace … delicacy of touch … fine musicianship" a welcome change from the usual Broadway attempts at comic opera.

[18] After the Australian premiere the critic of The Sydney Morning Herald wrote of "the atmosphere of sunshine, youth and happiness created by the exquisite delicacy of the joyous music" and contrasted it with the "coarser fare of the average English entertainment.

There are also recordings of extracts by Yvonne Printemps, with Jacques Jansen and an orchestra led by Marcel Cariven, reissued on Gramo LP, DB 5114.

More complete efforts are as follows: A film of the opera (in French) was made by Robert Vernay in 1949, with Giselle Pascal, Jean Desailly, Pierre Bertin and Noël Roquevert among the cast.