Hervé (1825-1892)
The “Pierrot” of French opérette
Florimond Ronger, better known by his pseudonym Hervé (1825-1892), is often compared to Jacques Offenbach (1819-1880). Described as “rivals”, “competitors”, or even “the best of enemies”, the two composers gave rise in the mid-1850s to the genre known in France as opérette, and both enjoyed great success at the end of the Second Empire (the government of France from 1852 to 1870). Yet, while Offenbach’s fame has endured to this day, that of Hervé – already relatively more modest during his lifetime – faded away over the course of the twentieth century. Far from being overshadowed by the composer of La Belle Hélène, Hervé surely deserves to be seen as the exceptional artist he truly was. This versatile musician – organist, choirmaster, singer, conductor, theatre director, librettist, and above all composer – had a very personal sense of humour, readily embracing the absurd and delighting in catching his audiences off guard. This exhibition traces the career of Hervé, the sad clown of French opérette.
Sommaire
From Saint-Roch to Saint-Eustache
Hervé was born in Houdin, near Arras (Pas-de-Calais). His father, a gendarme, died when he was ten, and with his mother he moved to Paris, where Madame Ronger found a job as a pew-opener (“chaisière”) at the Church of Saint-Roch. Her son joined the choir school attached to the church, and followed there a regular course of musical studies. He proved so talented that five years later he became organist at the chapel of the mental asylum at Bicêtre. After a short time in Antoine Elwart’s harmony class at the Paris Conservatoire (1841-42), he took part in experiments at Bicêtre using music in the treatment of the mentally ill. He set up an orchestra for the inmates and produced his first composition, a short opérette to the text of a popular vaudeville by Eugène Scribe, L’Ours et le Pacha, which his pupils performed in March 1842. In 1844 his marriage to Eugénie Groseille prompted him to seek a more lucrative position, and from 1845 to 1854 he served as choir organist at the Church of Saint-Eustache. A number of motets, hymns, and masses dating from that period and signed “Florimond Ronger” have come down to us in manuscript form.
Rue Saint-Honoré and the Church of Saint-Roch
S. Mingasson de Martinazeau. 1840
© Musée Carnavalet
Messe
1844
First page of a Mass setting by Florimond Ronger. 1844
© Bibliothèque-Musée de l’Opéra (fonds Hervé).
Organist and tenor
While working as organist at Saint-Eustache, Florimond Ronger became increasingly interested in opera. In December 1846 he was hired by the theatre in Montmartre as a comedy tenor. At that time, in order to distance his two personas, he adopted the stage name “Hervé”. Under that name he made his debut as a composer and comic librettist with a one-act “tableau grotesque” for two characters, entitled Don Quichotte et Sancho Pança. Premiered in Montmartre in October 1847, with Hervé himself as the knight errant, it later transferred to the stage of the Opéra-National, founded by Adolphe Adam. Unfortunately, ruined by the revolution of 1848, that theatre was forced to close after only four months of activity. Hervé continued his career as a singer and composer at the Théâtre de l’Odéon, where in December 1849 he presented Les Gardes-françaises. But the Odéon was soon banned from presenting such entertainments: in so doing, it infringed the rights of the Opéra-Comique, which held the monopoly. Hervé then found refuge at the Théâtre du Palais-Royal, where his position as conductor (1850-53) provided the opportunity for him to compose the music for numerous vaudevilles.
Romance de Don Quichotte
1847
From Don Quichotte et Sancho Pança. Title page illustration by Émile Dardoize.
© Bibliothèque-Musée de l’Opéra (fonds Hervé).
Adolphe Adam
1838
Portrait published in Le Charivari, 7 December 1838
© Bibliothèque nationale de France
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The Théâtre de l’Odéon
Les Gardes-françaises
1850
Title page of the libretto of Hervé’s opéra-comique. Paris: Beck, 1850.
© Bibliothèque-Musée de l’Opéra (fonds Hervé).
The Théâtre du Palais-Royal
Folies-Concertantes, Folies-Nouvelles
In the early 1850s, Hervé, then conductor at the Théâtre du Palais-Royal, sought to gain favour with the imperial power. In 1853 he composed an Ode à Sa Majesté l’Impératrice des Français and was invited to accompany private concerts in the apartments of the head of State. That proximity enabled him to obtain, at the very end of the year, a privilège, granting him the right to open a theatre, which he did with the Folies-Concertantes. Before embarking on that adventure, however, he resigned from Saint-Eustache, thus bidding farewell to church music. Hervé was declared bankrupt six months later, but he succeeded in keeping the establishment going by stepping down from the management and retaining only the position of artistic director. Hervé devoted himself heart and soul to that theatre, which reopened as the Folies-Nouvelles. He composed tirelessly: works including La Perle de l’Alsace, Le Compositeur toqué, La Fine Fleur de l’Andalousie, Un drame en 1779 and Un ténor très léger. He produced many such “bouffonneries musicales” in one act or a single tableau, in which he generally took the lead opposite Joseph Kelm. He also provided music for the famous pantomimes of Paul Legrand, as well as for some alluring dance numbers.
Folies-Nouvelles by Gustave Doré
1854
© Bibliothèque nationale de France
La Perle de l’Alsace
1854
Title page, illustration by Cham.
© Bibliothèque-Musée de l’Opéra (fonds Hervé).
Le Compositeur toqué
1854
The title of this piece, which features an excessively ambitious composer, was soon taken up as a nickname for Hervé. (“Toqué” means “crazy” or “cracked”.)
© Bibliothèque nationale de France
Hervé
1867
Caricature published in Le Café-concert, 26 May 1867. Hervé is apparently depicted at the height of his success at the Folies-Concertantes: the drawing is accompanied by a quotation from Le Compositeur toqué.
© Bibliothèque nationale de France
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La Fine Fleur de l’Andalousie
1854
Title page, illustration by Cham.
© Bibliothèque-Musée de l’Opéra (fonds Hervé).
Gaol, and back to square one
Tried in November 1856 for corruption of a minor, Hervé was sentenced to three years in prison following a trial – conducted in part behind closed doors – that is still somewhat of a mystery. Incarcerated in the Mazas Prison in Paris, he was released for good behaviour at the end of May 1858, having served only eighteen months. During his detention, he composed several pieces for the Folies-Nouvelles under the pseudonyms “Jules Brémont”, then “Louis Heffer” (“Heffer” corresponding to his initials, F. R.). He then obtained a position as conductor at the small Théâtre des Délassements-Comiques, but – no doubt aware of his damaged reputation – he seems to have felt that it was best to make himself scarce in the capital: thus, he toured France as a tenor. He appeared during the 1860–61 season at the theatre in Montpellier, for instance. When his contract at the Théâtre des Délassements-Comiques expired at the end of 1862, he left for Egypt with the promise of a position as conductor at the theatre in Cairo. After that establishment went bankrupt, Hervé stayed on for several months, giving concerts in the city. He returned to France in May 1863.
The account of Hervé’s trial.
Le Droit. Journal des tribunaux, 10 et 11 novembre 1856
© Bibliothèque nationale de France
Advertisement for a performance of Phosphorus
1857
The work is signed “L. Heffer”, one of Hervé’s pseudonyms.
Vert-vert, 23 November 1857.
© Bibliothèque nationale de France
Hervé
1868
The ball and chain seen here is undoubtedly a reference to the musician’s time in prison.
Le Bouffon, 9 February 1868
© collection Dominique Ghesquière
Le boulevard du Temple
1840
The Théâtre des Délassements-Comiques, where Hervé was conductor, is seen second from the left, at number 54, next to the Théâtre des Funambules.
© Bibliothèque de la Ville de Paris
The theatre in Montpellier
1858
© Archives de Montpellier
The Eldorado
Originally built as a guinguette in 1858, the Eldorado (4 boulevard de Strasbourg) became in the course of the 1860s – thanks to the efforts of its director, Monsieur Lorge – one of the French capital’s leading café-concerts. During the period when Hervé was seeking theatre directors who were well-disposed towards him, he began writing songs for the Eldorado. Under his own name, he produced over a hundred pieces tailor-made for its star performers, including Suzanne Lagier, Mlle Lasseny, Marie Lafourcade, Mme Chrétienno, Olympe Derville, Mme Amiati, Mlle Claudia, Mlle Kaiser, M. Perrin, Céline Pons, Mlle Valérie, Mlle Abigdon, Mme Luce, and others. Meanwhile Le Joueur de flûte (a one-act opérette-bouffe, April 1864) and Une fantasia (a one-act “opérette kabyle”, November 1865), billed at the Théâtre des Variétés, permitted Hervé to dream that his long spell in the wilderness was at last coming to an end.
Façade of the Eldorado. 1869
Picture published in Le Calino, 13 March 1869.
© Bibliothèque nationale de France
J’tapons dru !
1864
A “rusticité” performed at the Eldorado by Mlle Chrétienno. Illustration by Alfred Grévin.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
J'suis malade
1866
A “chansonnette comique” performed at the Eldorado by Mme Suzanne Lagier.
Illustration by Alfred Grévin.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Je chante bien quand il est là
1866
An “excentricité” performed at the Eldorado by Mlle Lasseny. Illustration by Alfred Grévin.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Y a des familles qu’a pas d’chance !
1866
A “jérémiade bouffe” sung at the Eldorado by Mlle Olympe Derville.
Illustration by Alfred Grévin.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Guerre aux femmes
1867
“Imprécations lancées” performed at the Eldorado by M. J. Perrin.
Illustration by Gustave Donjean.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
La Fille du diable
1867
A “Fantaisie infernale” sung at the Eldorado by Mlle Chrétienno.
Illustration by Gustave Donjean.
Marchand d’lorgnettes
1868
Song performed at the Eldorado by M. Adolphe. Illustration by Marcel Roux.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Tu m’négliges ce n’est pas bien
1868
Sung at the Eldorado by Mlle Claudia. Illustration by Gustave Donjean.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
The triumph of opéra-bouffe
The final years of the Second Empire marked the zenith of Hervé’s career in France. In November 1866, the Théâtre des Bouffes-Parisiens – Jacques Offenbach was no longer its director at that time – finally staged a three-act opéra-bouffe of his composition: Les Chevaliers de la Table ronde. Striking while the iron was hot, Hervé, supported by Moreau-Sainti, director of the Théâtre des Folies-Dramatiques, produced a series of works that were as crazy in their subject matter as they were ambitious musically. L'Œil crevé (October 1867), Chilpéric (October 1868), Le Petit Faust (April 1869) and Les Turcs (December 1869) delighted Parisian audiences at a time when Offenbach was creating La Grande-duchesse de Gérolstein, Robinson Crusoé, La Périchole and Les Brigands.
Hervé on the way to Bicêtre
Caricature published in L’Éclipse, 8 November 1868. Hervé is depicted in the “role of Chilpéric”, but the arrow refers to L’Œil crevé. The cart is being pulled by Blanche d’Antigny, who created the role of Frédégonde in Chilpéric.
© Bibliothèque nationale de France
Les Chevaliers de la Table ronde
1866
Quadrille by Antony Lamotte, based on motifs from the opéra-bouffe by Hervé. Illustration by Gustave Donjean.
© Musée Carnavelet
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L’Œil crevé
1867
Advertisement for the published score. Illustration by Barbizet.
© Bibliothèque nationale de France
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Chilpéric
1868
Poster by Henri-Alfred Darjou announcing the premiere of the opéra-bouffe.
© Bibliothèque nationale de France
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Hervé as Chilpéric
1868
Caricature published in Le Monde pour rire, 7 November 1868.
© Bibliothèque nationale de France
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Le Petit Faust
1869
Poster by Jules Chéret announcing the premiere at the Folies-Dramatiques of this opéra-bouffe.
© Bibliothèque nationale de France
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Hervé en Faust
1869
M. Hervé as Faust in Le Petit Faust. Théâtre des Folies-Dramatiques.
Drawing signed with the initial “T”.
Galerie dramatique, n. 986.
© Bibliothèque nationale de France
Les Turcs
1869
Poster by Jules Chéret announcing the premiere at the Folies-Dramatiques of this opéra-bouffe.
© Bibliothèque nationale de France
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Costumes for Les Turcs
1869
Colourised costume designs for Bajazet and Général Bosphore.
© Palazzetto Bru Zane
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Between Paris and London
The French opéra-bouffe fascinated the whole of Europe, and the most popular works were exported. Hervé was asked to produce a translation of Chilpéric for its performance at the Lyceum Theatre in London (January 1870). His success on the other side of the Channel came at a time when France was experiencing a major political upheaval. The war against Prussia and the Paris Commune reshaped the artistic landscape of the capital. When opérette was singled out as one of the reasons for France’s defeat, Hervé chose to move to England. He took over as conductor of the orchestra of the Empire Theatre, saw to the translation into English of the librettos of his opéras-bouffes – The Little Faust, 1870, The Merry Toxophilites [L'Œil crevé], 1873, and Melusine the Enchantress [Les Chevaliers de la Table ronde], 1874, amongst others – and he also composed new works, including Aladdin the Second (1870), and a vast work for soloists, chorus and orchestra, The Ashanti War (1874). In the 1880s, he married an English woman (although he was not divorced from his French wife) and settled in Folkestone, from which port he was able to reach Paris in six hours. For although he was now living in England, he continued to compose for Paris, and in 1879 he even took over as conductor of the orchestra of the Théâtre des Folies-Bergère.
Empire Theatre of Varieties, programme. 1889
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
A scene from Chilperic at the Lyceum Theatre
1870
Unsigned illustration published in The Graphic, 26 March 1870.
© Dominique Ghesquière Collection
Where shall I take my bride?
English version of Siebel’s aria from Le Petit Faust, which was sung at the Lyceum Theatre by M. Marius.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Promenade Concerts
1874
Programme for the concert conducted by Hervé on 8 August 1874, which included the première of The Ashanti War.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
Costumes for the ballet Les Sphinx
1879
Divertissement in three tableaux premiered at the Théâtre des Folies-Bergère on 26 April 1879; music by Hervé.
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Sea Sick Waltz
1887
Manuscript of the full score of the ballet The Sports of England, premiered at the Empire Theatre, London, on 22 December 1887. After sections devoted to “Cricketing” and “Yachting”, this third piece is entitled “Sea Sick Waltz”. Hervé’s constant trips back and forth between Paris and London must have brought him into regular contact with that kind of sickness!
The “Judic years”
Unpopular with Parisian audiences since the early 1870s, Hervé found fresh inspiration in France when he began composing for the singer Anna Judic. After making a name for herself in the café-concerts, the latter became a central figure in the opéra-bouffes of the early years of the Third Republic, appearing in works by Léon Vasseur, Gaston Serpette, and Jacques Offenbach. La Femme à papa (December 1879) marked the beginning of her collaboration with Hervé. It was followed by La Roussotte (January 1881), Lili (January 1882), Mamz’elle Nitouche (January 1883) and La Cosaque (February 1884). Although Hervé’s music for those comédies-opérettes was not as sophisticated as that of his opéras-bouffes, those works enjoyed lasting success with Parisian audiences. The press, however, remained largely hostile to the exiled musician.
Madame Judic in Mamz’elle Nitouche
Drawing by Job published in La Nouvelle Lune, 18 February 1883.
© Bibliothèque nationale de France
La Femme à papa
1879
Poster announcing the premiere of the comédie-opérette.
© Bibliothèque nationale de France
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La Roussotte
1881
Poster by E. Buval announcing the premiere of the three-act vaudeville-opérette.
© Bibliothèque nationale de France
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Lili
1882
Poster by Henri Meyer announcing the premiere of the comédie-opérette.
© Bibliothèque nationale de France
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Madame Judic in Lili
1882
Drawing published in La Nouvelle Lune, 5 February 1882.
Mamz’elle Nitouche
1883
Poster by Antonin-Marie Chatinière announcing the premiere.
This opérette, to a libretto by Henri Meilhac and Albert Millaud, was partly inspired by the life of the composer himself. Indeed, the main character, Florestin, works during the day as the organist of a convent, but then, under a pseudonym – Floridor – spends the evening at the theatre where the opérette he has composed is being performed.
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La Cosaque
1884
Poster by Louis Lemaresquier announcing the premiere of the comédie-opérette.
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Disappointed dreams
Despite a rich catalogue of works, Hervé appears to have struggled to find satisfaction in his career. Beneath the comic mask worn in his works there lay a bitterness that shows through in his correspondence. He dreamed of being recognised by his contemporaries as a leading composer, and made numerous attempts to approach the directors of the Opéra-Comique and the Paris Opéra in the hope of having a work scheduled on an official opera stage. But he was unsuccessful. Furthermore, he appears to have been deeply hurt by what he read in the Parisian press following the death of Jacques Offenbach: all the obituaries referred to the composer of Orphée aux Enfers as “le père de l’opérette”, thus crediting him with its invention. In reaction to that, he set about giving an account of his career in “Notes pour servir à l’histoire de l’opérette”, a document that remained in manuscript form.
Portrait of Hervé
Published in L’Univers illustré, 25 February 1882.
© Bibliothèque nationale de France
Letter to Hervé
August 1871
On 10 August 1871 Hervé had informed Olivier Halanzier-Dufresnoy, director of the Paris Opéra since July of that year, that he wished to compose a full-blown opera for performance there. The latter’s reply was cordial, but it left no room for hope.
After the success you have achieved in the théâtres de genre [the boulevard theatres], I do not feel that this is the right moment for you to produce a work at the Opéra, especially since, having only recently arrived at this theatre, I have to be very cautious in my choice of new works.
© Archives nationales de France
Le Figaro
6 October 1880
On 6 October 1880 the whole of the front page of Le Figaro was devoted to the death of Jacques Offenbach.
© Bibliothèque nationale de France
Notes pour servir à l’histoire de l’opérette
c. 1881
First page of the manuscript.
© Bibliothèque-Musée de l’Opéra (fonds Hervé)
“Plus fort que Mozart”
1892
Was this a real interview, or was it fictional? In L’Écho de Paris of 2 November 1892, Hervé, defending himself against the press attacks on his latest work, Bacchanale (October 1892), declared that he was better than Mozart – “plus fort que Mozart” – a statement that made journalists snigger. But those words turned out to be among his last: he died disappointed the following day, presumably as the result of an asthma attack.