The Emperor arrived at Paris on the 23d of January, and passed the remainder of the winter there, with the exception of a few days spent at Rambouillet and Saint-Cloud.
On the very day of his arrival in Paris, although he must have been much fatigued by an almost uninterrupted ride from Valladolid, the Emperor visited the buildings of the Louvre and the rue de Rivoli.
His mind was full of what he had seen at Madrid, and repeated suggestions to M. Fontaine and the other architects showed plainly his desire to make the Louvre the finest palace in the world. His Majesty then had a report made him as to the chateau of Chambord, which he wished to present to the Prince of Neuchatel. M. Fontaine found that repairs sufficient to make this place a comfortable residence would amount to 1,700,000 francs, as the buildings were in a state of decay, and it had hardly been touched since the death of Marshal Sage.
His Majesty passed the two months and a half of his stay working in his cabinet, which he rarely left, and always unwillingly; his amusements being, as always, the theater and concerts. He loved music passionately, especially Italian music, and like all great amateurs was hard to please.
He would have much liked to sing had he been able, but he had no voice, though this did not prevent his humming now and then pieces which struck his fancy; and as these little reminiscences usually recurred to him in the mornings, he regaled me with them while he was being dressed. The air that I have heard him thus mutilate most frequently was that of The Marseillaise. The Emperor also whistled sometimes, but very rarely; and the air, 'Malbrook s'en va-t-en guerre', whistled by his Majesty was an unerring announcement to me of his approaching departure for the army.
I remember that he never whistled so much, and was never so gay, as just before he set out for the Russian campaign.
His Majesty's, favorite singer were Crescentini and Madame Grassini.
I saw Crescentini's debut at Paris in the role of Romeo, in Romeo and Juliet. He came preceded by a reputation as the first singer of Italy;
and this reputation was found to be well deserved, notwithstanding all the prejudices he had to overcome, for I remember well the disparaging statements made concerning him before his debut at the court theater.
According to these self-appointed connoisseurs, he was a bawler without taste, without method, a maker of absurd trills, an unimpassioned actor of little intelligence, and many other things besides. He knew, when he appeared on the stage, how little disposed in his favor his audience were, yet he showed not the slightest embarrassment; this, and his noble, dignified mien, agreeably surprised those who expected from what they had been told to behold an awkward man with an ungainly figure. A murmur of approbation ran through the hall on his appearance; and electrified by this welcome, he gained all hearts from the first act. His movements were full of grace and dignity; he had a perfect knowledge of the scene, modest gestures perfectly in harmony with the dialogue, and a countenance on which all shades of passion were depicted with the most astonishing accuracy; and all these rare and precious qualities combined to give to the enchanting accents of this artist a charm of which it is impossible to give an idea.
At each scene the interest he inspired became more marked, until in the third act the emotion and delight of the spectator were carried almost to frenzy. In this act, played almost solely by Crescentini, this admirable singer communicated to the hearts of his audience all that is touching and, pathetic in a love expressed by means of delicious melody, and by all that grief and despair can find sublime in song.
The Emperor was enraptured, and sent Crescentini a considerable compensation, accompanied by most flattering testimonials of the pleasure he had felt in hearing him.
On this day, as always when they played together afterwards, Crescentini was admirably supported by Madame Grassini, a woman of superior talent, and who possessed the most astonishing voice ever heard in the theater.
She and Madame Barilli then divided the admiration of the public.
The very evening or the day after the debut of Crescentini, the French stage suffered an irreparable loss in the death of Dazincourt, only sixty years of age. The illness of which he died had begun on his return from Erfurt, and was long and painful; and yet the public, to whom this great comedian had so long given such pleasure, took no notice of him after it was found his sickness was incurable and his death certain. Formerly when a highly esteemed actor was kept from his place for some time by illness (and who deserved more esteem than Dazincourt?), the pit was accustomed to testify its regret by inquiring every day as to the condition of the afflicted one, and at the end of each representation the actor whose duty it was to announce the play for the next day gave the audience news of his comrade. This was not done for Dazincourt, and the pit thus showed ingratitude to him.
I liked and esteemed sincerely Dazincourt, whose acquaintance I had made several years before his death; and few men better deserved or so well knew how to gain esteem and affection. I will not speak of his genius, which rendered him a worthy successor of Preville, whose pupil and friend he was, for all his contemporaries remember Figaro as played by Dazincourt; but I will speak of the nobility of his character, of his generosity, and his well-tested honor. It would seem that his birth and education should have kept him from the theater, where circumstances alone placed him; but he was able to protect himself against the seductions of his situation, and in the greenroom, and in the midst of domestic intrigues, remained a man of good character and pure manners.
