Posts Tagged ‘Jardin de Paris (Paris)’

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Blondinette d’Alaza, early 20th Century French soubrette

October 20, 2013

Blondinette d’Alaza (active early 20th Century), French soubrette, at the time of her appearance in July 1906 at the Jardin de Paris, Paris, singing ‘L’Anguille,’ a ‘Chansonnette de vieux temps’ with words by Émile André and music by Théodore Bruet.
(photo: unknown, Paris, circa 1906)

‘BLONDINETTE D’ALAZA, Du Nouveau-Cirque
‘Imaginez la femme la plus gracieuse du monde, Parisienne à la perdition de nous tous, élancée comme un lys et blanche et fine comme lui, des yeux, pleins de rêve et de caresses, une bouche adorable laissant transparaître d’adorables dents, une chevelure de souveraine, délicieusement blonde, et vous aurez une idée … Eh bien non, vous n’aurez encore pas une idée de la beauté de son visage, ni surtout du charme de son sourire.
‘Artiste jusqu’au bout de ses jolis ongles roses, Blondinette d’Alaza débuta, il y a quatre ans, au Casino de Paris, et ce, par le plus grand des hasards après avoir été mêlée à un procès très parisien.
‘Ses débuts furent excellents. Nous la retrouvons au théâtre Marigny, aux Folies-Bergère, et cette année, même commère de revue au Noveau-Cirque. Entre temps parcourt l’Amérique du Sud, l’Italie et la Russie, oú son nom est synonyme de succès.
‘Que de grâce exquise ne déploie-t-elle pas dans ses chansons de gommeuse et de diseuse, retroussant crânement sa jupe, et laissant entrevoir une jambe fine faite au tour? Que de frissons ne fait-elle pas courir sur l’échine du spectateur qui reste enextase et comme cloué dans son fauteuil! Rien n’est plus charmant que d’entendre chanter Blondinette d’Alaza de sa voix si mélodieuse, si douce, que couvrent infailliblement, sur les dernières notes, d’irrésistibles bravos.
‘Vous dirai-je que Blondinette d’Alaza, ce bienfait des Dieux, ce double enchantement des yeux et des oreilles, cet adorable visage qui sourit, ce joli corps qui se cambre, froufroute, cette voix fraîche et souple qui nous enveloppe, nous séduit, a eu l’honneur d’être demandée par toutes les grandes capitales de l’Europe, et que, partout, ce furent des succès éclatants?
‘C’est ainsi qu’au Théâtre Argentin de Buenos-Ayres, les bijoux pleuvaient à ses pieds sur la scène en guise de fleurs tenues pour trop modeste hommage à tant de grâce, de charme, de beauté, de talent et … d’esprit. Oui, d’esprit! Elle de fit voir – – en d’autres occasions – – lors qu’au Marigny elle imita si plaisamment Mlle Sylviac, alors victime récalcitrante de ”Administration des Téléphones.
‘Moscou, St. Pétersbourg, Rome, Naples, se sont tour à tour disputé et ont chaleureusement fêté cette délicieuse incarnation de tous les charmes qui font de la Parisienne la femme par excellence dans tous les pays du monde.
‘Aussi nul ne pourrait-il se douter que cette Parisienne exquise, parfaite, a eu la malicieuse originalité de naître à … Lille!
‘Paris ne s’en est pas encore consolé.’
(La Rampe, Paris, Sunday, 3 May 1908, p. 9)

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Mlles. Serpolette, Folette, Risette and Clair de Lune

March 31, 2013

‘Quadrille Fin de Siecle,’ a cabinet photograph of Mlles. Serpolette, Folette, Risette and Clair de Lune, the Parisian can can dancers who made their sensational American debut at Koster & Bial’s, New York, in November 1892
(photo: Sarony, New York, 1892)

‘KOSTER & BIAL’S.
‘At Koster & Bial’s last night the second half of the programme was made up of imported Parisian ”specialties,” which were loudly applauded by the motley crowd. A novelty announced with a ”quadrille fin de siècle” by four dancers from the neighbourhood of the Batignolles.
‘They were supposed to hail from the Moulin Rouge, the home of high kicking and acrobatic performances, but from their comparatively slight knowledge of the figures of the dance, it is probably that, if they did come from Paris at all, it was from one of the smaller cafés. They have the South Fifth Avenue manner. Mlles. Serpolette, Folette, Risette, and Claire de Lune are four very large and rather vulgar-looking women of mature years. They do not dance ven as well as the four women in The Black Crook, nor do they attempt the same gymnastics, but the ”quadrille” is identical with that dances at the Fourteenth Street house.
‘Their performance seemed to please the crowd at Koster & Bial’s. M. and Mme. Berat, Marie Vanoni, with ”Georgie” and ”La Cantinière”, the grotesque Eduardos, and the Americans, Wood and Shepard, were all more interesting to decent folk. The Rendezvous and Barbe Bleu (condensed) operettas were well given.’
(The New York Times, New York, Wednesday, 22 November 1892, p. 5)

‘New York has a new attraction at one of her music halls. The four French dancers, Mlles. Serpolette, Clair de Lune, Folette and Risette, who made their first appearance in this country last week on Koster & Bial’s concert hall stage gave what may be safely called the most sensational terpsichorean exhibition that has ever been witnesses on the American stage. Their exhibition was anything but artistic, or even fetching. It consisted in a more than liberal display of lingerie, some very high kicking, squatting on the floor with legs stretched out at right angles, making somersaults and other feats of similar nature.’
(Oshkosh Daily Northwestern, Oshkosh, Wisconsin, Monday, 28 November 1892, p. 4a)

‘Dancing before the footlights in New York city just now are a number of young women from Paris’ Maulin Range [sic] and Jardin de Paris, who are creating a sensation, the like of which has not been experienced in many a day, says a writer in the World of that city. According to the writer a new dance has been introduced by the French called le grand ecart. The English name for it is not very dignified. Perhaps the feat is less so, but we must accept it as an artistic excellence. Imagine the dignity of a young woman sinking down to the floor her limbs at right angles to the body. The undignified phase is lost in the rapturous applause which comes from all parts of the house, even from the box tiers of the Four Hundred… .’
(Hamilton Daily Democrat, Hamilton, Ohio, 17 December 1892, p. 3d)

‘COLUMBIA THEATER [Brooklyn].
Babes in the Wood may be seen for another week at this spacious and handsome theater, before making way for The Isle of Champagne. It is a showy, spectacular piece, with a dash of burlesque, a dash of vaudeville, a bit of pantomime, some singing, incessant music, brilliant effects of costume, scenery and lights, and more than a dash of dancing. The performance of the four French dancers, who wrap their legs around their necks and perform the bone racking feat called ”the split,” makes a genuine sensation. Arthur Dunn and Timothy Cronin in the comic parts are really funny.’
(The Brooklyn Daily Eagle, Brooklyn, New York, Sunday, 12 February 1893, p. 5a)