78:. Bordogni thought highly of Sophie: it is said that he allowed her to sing only scales and solfeggi which he composed for her, for two whole years. After that time mother CrĂĽwell wanted to remove her, saying that she had learnt scales enough and that if she was going to do nothing else she might as well get married and give it up. Bordogni persuaded mother that she would have a wonderful career, and that she should go on to complete her studies in Milan. A first public appearance in January 1846 was reported in the musical journal
20:
1793:
711:
he was forced to write to the Opera's director, Louis
Crosnier: "To avoid the catastrophe that menaces us ... I see but one means and I do not hesitate to propose it: dissolution of the contract". However, with Cruvelli's re-appearance, Verdi persevered for over six months until the opera was finally given its premiere in June 1855, by then having spent close to two years in Paris working on the opera.
350:
225:(Alfonso) and the debutante Mlle Schwarz (Orsini) made it worth waiting for. All this occurred before Easter 1848. H. F. Chorley at this time said she had 'youth – a presence commanding, if somewhat peculiar – a superb voice, almost three octaves in compass – and a fervour and ambition which it could not then be foreseen would take their after-forms of reckless and perverse eccentricity.'
573:, despite, or perhaps assisted by, her reputation for mischievous ill-temper and unreasonableness. She was increasingly admired by Giacomo Meyerbeer, and in January 1854 she was (with his support) engaged by the Paris Opéra at the hitherto highest ever fee of 100,000 francs (about €600,000) for eight months. She sang Valentine in
1173:'Up to this time there had been some improvement in the arrangement and command of the admirable materials given to the lady by Nature; but henceforward the misuse of them increased so steadily, and with it her exactions and caprices as an artist, that it was a case of relief – not of regret – when she left the stage.' Chorley,
247:
was also making her debut, but did not maintain the foothold in London which
Cruvelli achieved. 'It was difficult, indeed almost impossible, both for Cruvelli and Tadolini to shed their really bright rays, whilst the great planet Jenny Lind was in the ascendant.' The whole season culminated in Lind's
756:
after its eleventh performance on 17 November, saying that 'such filth' would not be tolerated. Wertheimber departed the Opéra to sing outside of Paris and only returned later, after
Cruvelli's retirement. Gann has speculated that the closure of Gounod's opera may have been at least partly motivated
710:
For Verdi, his time at the Opéra was one of the most frustrating he had ever experienced. Not only was the librettist, Scribe, unresponsive to his pleas for revisions, until finally, with no premiere in sight and the mysterious disappearance from rehearsals of Sophie
Cruvelli who was to sing Hélène,
780:
In
January 1856 Sophie Cruvelli married Baron Vigier (who later became viscount) and retired from the public stage, at the height of her powers. However she did make further appearances after 1858, mainly in splendid Benefit concerts at her winter residence, the Villa Vigier in Nice, where for many
202:
We were still not habituated to Signor Verdi's violent music. An attempt was made by
Mademoiselle Cruvelli, by extra animation in the amazonian part of its heroine, to "improve" the political events of the insurrectionary year 1848. But the fire was not sacred – the flame did not kindle our cold
147:'from city to city, attending his concerts in a front row seat, much to his annoyance. Her prima donna rivals had nicknamed her "Mme. Hinterlist" – meaning both "after Liszt" and "perfidious".' If the depth of her friendship with Liszt was unproven, her relations with the married singer
693:
scheduled for 9 October, Cruvelli drew her fees and disappeared (her second "Flight"), taking with her some compromising letters from M. Fould. A distraint was put on
Cruvelli's possessions, and a forfeit of 300,000 francs was threatened, but she did not reappear for a month.
454:, which did not survive despite a cast including Cruvelli, Reeves, Calzolari, Coletti and Lablache, and despite a royal visit to the performance. This was the London debut of Sophie's sister Maria Cruvelli, in a contralto role. But Cruvelli's successes continued there with
652:, and through that summer and autumn was the reigning goddess at the Opéra. She was required to sing only two nights a week and was receiving a very substantial fee for each performance. By autumn, rehearsals were under way for a new Verdi opera written specially for her,
62:
family of comfortable means. She showed an early disposition towards music, and she and her sister Marie (later a mezzo-soprano) and her brother (later a baritone) were encouraged and assisted to training by the family. Sophie and Marie commenced their vocal studies with
718:: at first there was some hissing, but she rapidly won over the audience by the power of her performance, and triumphed magnificently with receipts climbing to more than 9,000 francs for her first few appearances. The distraints and threats of fines were forgiven.
136:: 'I tell you plainly, and with deep conviction, that you are making an excellent acquisition. A most beautiful voice – give her good models and a good maestro'. Sophie herself was delighted with the proposals. In the winter of 1847 she made several appearances at
485:
took place, including a notable performance of the trio 'Don't tickle me I pray' with each part triplicated, with sopranos
Cruvelli, Sontag and Jenny Duprez, tenors Reeves, Calzolari and Gardoni, bassi Lablache and others. Cruvelli had 'extra' performances of
433:, was angered because he claimed that Cruvelli had altered the music 'in such a way as to bring it within range of mediocre capabilities.' Chorley, never an admirer, thought this was the turning-point, where her decline began. Then three performances of
871:
Most sources say her father was a
Protestant minister, but some call hers a 'merchant family': Dagmar Gieseke, Public Archivist of Bielefeld (Stadtarchiv und Landesgeschichtliche Bibliothek), states that Cruvelli's father was a
698:
was performed and was moderately successful with receipts averaging over 6,000 francs per evening, but was widely condemned for its libretto. The absence of
Cruvelli prompted Verdi to threaten to cancel the première of the
177:, London's young favourite, in the baritone role of the King (for good measure). Cruvelli at first experienced 'sudden and awful nervousness' before the thronged audience, but soon settled and was a decided success.
707:(former director of the Opéra-Comique) replaced him on the 11th. In October 1854 the rumour was that Cruvelli had fled to Brussels to be married to Baron Vigier, a Parisian of immense fortune.
555:. This was the original so-called "Flight of Cruvelli", and for the time being put an end to her London appearances. Yet when Verdi wanted to cast Cruvelli as Violetta for the première of
773:
517:. However, the affairs of the theatre were failing, a situation fed by rumour and despondency. Lumley's company made valiant efforts: the stalwarts, Cruvelli, Lablache, and Gardoni sang
143:
Cruvelli, who was becoming a distinctly striking and beautiful woman, developed a reputation for romantic eccentricity. It was related that she was one of those young women who followed
764:', to be performed by her, and was working on the score during her final season. However, when she withdrew from the stage he set it aside and did not return to it for long afterwards.
646:). Chorley, who never admired her, called it 'an inroad, the result of which in no respect bore out her popularity in the Haymarket.' She then went back to Paris to sing Alice in
42:
who had a brief but stellar public career especially in London and Paris in the middle years of the 19th century. She was admired for her vocal powers and as a tragédienne. Both
481:
as a benefit for the composer, and was a triumph: 'Cruvelli, aided by Gardoni, Pardini, Coletti, and Massol, secured a most effective and spirited execution for the work.' The
955:
411:, the first of five performances which established her in the public mind as a leading tragédienne: critics compared her with her great predecessors in the role,
194:(in which Cruvelli had already distinguished herself), with Belletti, Gardoni and Cuzzani. If Italy thought the work Verdi's masterpiece, London didn't like it.
128:
heard and ('struck with the splendid voice, the impulsive dramatic temperament, the spirit, and the captivating person') recruited her for the season of 1848 at
132:
in London, of which he was the impresario. The family objected that she was too young to face the English public, but Lumley was urged to proceed by the tenor
466:
was given with both Cruvelli sisters, 'which was less congenial to the wild and passionate nature of the charming Sophie than any of her more tragic parts.'
612:, but declined it. The role was instead offered to Palmyre Wertheimber, a new singer from the Opéra-Comique who had made her debut at the Opéra as Fidès in
89:, but was so struck with fright that she could not produce any sound at all. After this she resolved to return to Bielefeld: but the (later famous) teacher
829:), Sophie Cruvelli died aged 81 on 6 November 1907 in the Hotel de Paris in Monte Carlo. Her grave memorial is in the Père Lachaise cemetery in Paris.
148:
537:
In the midst of this crisis Sophie Cruvelli, the surviving mainstay of the company, suddenly disappeared from London, on the day she was to have sung
1780:
1833:
1766:
810:
in France, and herself sang the role of Elsa. It was a bold and sumptuous presentation, and took place in the context of a benefit performance.
1689:
Levin, Alicia C. (2009), "A Documentary Overview of Theaters in Paris, 1830–1900", p. 379–402 in Annegret Fauser and Mark Everist (Eds.),
74:
In 1844 their mother took the girls to Paris to continue their studies, first with Francesco Piermarini, and then with the distinguished tenor
561:, which was presented with a different singer in Venice in March 1853, he was unable to do so because she was still under contract to Lumley.
423:
imitating Beethoven's style, pointing the content of the dialogue with motifs drawn from the principal arias. Most appreciated them, but
665:
Achille Fould, a senior political minister, increasingly involved himself in her public and private affairs. Wertheimber's première of
450:
494:(sung during the season by Sontag), and was considered to have been the star of the very illustrious 1851 season at Her Majesty's.
862:
This article uses some information derived from German Knowledge, where the sources are generally but not specifically attributed.
797:(Rose of Virtue), though she was a lifelong confirmed Protestant. At one such charity concert in 1881 she became indisposed, and
237:, with Lablache, Coletti, Belletti and Bouche, and with Mlle Schwartz as Cherubino. Later that season Cruvelli sang Abigaille in
541:. "Where's Cruvelli?" became a burlesque by-word. She had fled to Germany, and in time reports came in that she was singing in
1717:
Sieker, Antje (1986), "Die Crüwelli 1826–1907. Operndiva aus Bielefeld," in Ilse Brehmer and Juliane Jacobi-Dittrich (Eds.),
1698:
1683:
1630:
1615:
1600:
1564:
1772:
Marble bust of la vicomtesse Vigier, by Louis Nicolas Adolphe Megret (1829–1911), in the Musée des Beaux Arts, Nice, France.
1155:
Jennifer L. Hall-Witt, 'Critics and the elite at the opera' in Cyril Ehrlich, Christina Bashford and Leanne Langley (Eds),
1654:: How It Came to Be – What it Came to Be". Essay in booklet accompanying the (Italian language) Levine RCA recording, BMG.
529:'s brother) were bribed by a better offer from the Covent Garden management and broke their contract. A lawsuit followed.
354:
1044:
1828:
1823:
1457:
982:
729:
and Louis Guéymard. This was her last great triumph on the public stage. Performances continued through the year:
703:, and on 6 November Roqueplan, who had run up a deficit of 900,000 francs, was asked to resign, and his adversary
1739:
Williams, Anne, "Lewis/Gounod's Bleeding Nonne: An Introduction and Translation of the Scribe/Delavigne Libretto"
412:
737:
to Italy to commence his own studies with Lamperti or Nava, delayed in Paris for a day to hear Cruvelli in the
419:. Gardoni and Calzolari led the Chorus of Prisoners. For this production, musical recitatives were composed by
677:
was fragile, despite having had direct State funding; a recent series of new productions had all done poorly.
257:
at the Royal Opera House in Berlin, and then sang from November 1848 until March 1849 at the Teatro Grande in
405:
It was however at Her Majesty's, London on 20 May 1851, that she and Reeves won very great acclaim for their
501:
for the winter, and the following spring returned to London to sing with Gardoni and Lablache, appearing in
741:
on 31 October 1855. On first hearing her, he had thought her a goddess: now he was somewhat disenchanted.
579:
before the Emperor and an audience of the great and famous, scored a triumph, and continued with Julia in
1491:
1314:
1139:
569:
During 1853, Sophie Cruvelli made appearances at the Théatre-Italien and became a favourite of Emperor
1186:
1670:
975:
Issue 4 of Franz Liszt studies series: Volume 4 of Dance & Music (2nd Edn, Pendragon Press, 1995)
890:
358:
281:. At the end of 1849 she sang Odabella in Verdi's Attila as the leading lady at the opening night of
654:
382:, with Henrietta Sontag, and then went on to partner Cruvelli in her debut there, in April 1851, in
1838:
648:
160:
133:
129:
1492:
New York Times, 16 May 1895: article on Sophie Cruvelli (on her presentation to HM Queen Victoria)
817:(at whose invitation she had sung in 1851, 1852 and 1854) once more in 1895. After a visit to the
437:, in which Cruvelli gave herself free rein, generated much enthusiasm in London. Cruvelli sang at
995:
Letter (60) of Helen Blavatsky referring to Metrovich's statement that Cruvelli was his mistress.
522:
217:
182:
93:
took the situation in hand, and under his guidance her voice and powers returned and flourished.
818:
785:
in her Salon, the 'Cercle de la Méditerranée'. These concerts included an annual performance of
521:, and were powerful attractions. Lumley had achieved the remarkable coup of booking the soprano
1762:
1473:
translated by Edwin Gile Rich (Small, Maynard & Co., Boston 1919), Chapter XX, 'Meyerbeer'.
1380:
Huebner 1990, p. 40–41; Harding 1973, p. 87 (900,000 francs); Levin 2009, p. 382 (11 November).
474:
1665:
1446:
1292:
1154:
285:
in Milan, and through the ensuing season (1850) made no fewer than sixty appearances there in
1428:
Huebner 1990, p. 40–42; Anne Williams; Gourret 1987, p. 41; Kutsch and Riemens 2003, p. 5022.
970:
760:
Meyerbeer maintained steady contact with Cruvelli: he intended the character of Selika, his '
424:
1738:
1356:
1818:
1813:
1756:
Sophie Cruvelli, oil portrait by Karl Müller 1852 in Musée National du Château de Compiègne
782:
776:
Sophie Cruvelli in 1875. (Collections of Fratelli Alinari Museum & Palazzoli, Florence)
498:
369:
813:
She remained a figure of public importance into her later life, and was presented to H.M.
617:
8:
973:
Living with Liszt: from the diary of Carl Lachmund, an American pupil of Liszt, 1882–1884
312:
231:
was then the London rage, and Cruvelli now appeared as the Countess to Lind's Susanna in
994:
590:
1765:(1812–1883), in the Musée Masséna, Nice, France. (In the image of Elsa, in Lohengrin?)
1187:'Buckingham Palace Concert Programmes 1837–60', Elizabeth Costa collection, Cup.403.w.6
608:
445:
378:
233:
90:
86:
1694:
1679:
1657:
1626:
1611:
1596:
1560:
1453:
978:
806:
629:
621:
438:
187:
170:
47:
804:
In 1881 in Nice, Cruvelli organised the first performance of Richard Wagner's opera
670:
1776:
680:
674:
625:
376:
for both London and Paris. Reeves made his own Paris debut in the winter season in
244:
789:, the proceeds of which were given to the poor. This was the reason why, in 1874,
726:
1775:
Half-length photographic portrait, c. 1875, by Ferdinand Mulnier (1817–1891), in
1371:
Letter from Verdi to Roqueplan of 28 October 1854, quoted in Budden 1978, p. 179.
826:
730:
714:
Cruvelli reappeared as miraculously as she had gone, and on 13 November she sang
633:
552:
365:
271:
212:
125:
570:
344:
19:
1579:
Une grande Cantatrice Niçoise: La Vicomtesse Vigier (Sophie Cruvelli) 1826–1907
1309:
851:
Une grande Cantatrice Niçoise: La Vicomtesse Vigier (Sophie Cruvelli) 1826–1907
814:
761:
704:
603:
526:
525:
to sing at Her Majesty's in May 1852, but she (or her father and agent Albert,
416:
222:
106:
75:
43:
547:
50:
created operatic roles with the intention that she should first perform them.
1807:
1552:
575:
420:
307:
253:
195:
174:
116:
798:
1547:
Le cantante italiane dell'Ottocento: ricordi – annedotti – intimità – amori
790:
642:
321:
277:
35:
1755:
725:, in which she sang Hélène, took place on 13 June 1855 at the Opéra, with
1794:"6 November 1907: Die CrĂĽvelli, Operndiva aus Bielefeld, stirbt in Nizza"
1661:
1087:
I paleoscenici della lirica: cronologia dal Falcone al nuovo Carlo Felice
794:
557:
373:
169:
with two other debutants, Signor Cuzzani (a Berlin favourite) as Ernani,
144:
64:
1157:
Music and British culture, 1785–1914: essays in honour of Cyril Ehrlich
801:
stepped in and sang in her place, giving her first public performance.
772:
585:
228:
1733:
Es gab nicht nur die Droste. Sechzig Lebensbilder Westfälischer Frauen
599:. With each role, Cruvelli's stature as a tragédienne was increasing.
1347:
Andrew Gann, 'Théophile Gautier, Charles Gounod, and the massacre of
542:
429:
137:
101:
59:
1124:
662:, scheduled for the beginning of October 1854, was eagerly awaited.
1449:
The Diaries of Giacomo Meyerbeer: The years of celebrity, 1850–1856
929:
927:
925:
595:
580:
282:
349:
1557:
The Operas of Verdi: 2. From Il Trovatore to La Forza del destino
971:
Told by the critic Maurice Halperson, cited in Alan Walker (Ed),
407:
258:
239:
39:
1761:
Sophie Cruvelli Viscountess Vigier: full-length oil portrait by
922:
458:
with Sontag, Fiorentini, Coletti, Ferranti and Lablache, and in
1072:
See German Knowledge (source not specified): Elizabeth Forbes,
822:
689:
A crisis was precipitated when, just before the performance of
602:
Early in 1854 she was offered the title role in a new opera by
165:
121:
120:
in the same theatre. Later in 1847 she was singing Odabella in
97:
68:
781:
years she drew together the international high-society of the
673:, was set for 18 October 1854. The Opéra administration under
190:
as Bartolo. There followed (14 March) the British premiere of
620:. Cruvelli, meanwhile, returned to London for engagements at
345:
1851–1852: Théâtre-Italien (Paris) and Her Majesty's (London)
316:
111:
1533:
Precise details from German Knowledge: source not specified.
1177:, II, 143. A more detailed criticism is given on pp. 173–74.
441:
on 7 June 1851, and was invited again the following year.
1745:(University of Maryland website; accessed 15 July 2011).
1502:
Information from German Knowledge: source not specified.
1417:
Student and Singer: The Reminiscences of Charles Santley
1393:
21 October 1854, p. 5 or "Why Mdlle Cruvelli ran away",
85:
In Milan she first went to audition with the impresario
1691:
Music, Theater, and Cultural Transfer: Paris, 1830–1914
1645:
Die Gesangsköniginnen in den letzten drei Jahrhunderten
1295:
Le Opere di Verdi: Dal trovatore alla forza del destino
1266:, 335–36; see also H. Jachmann (trans. M.A. Trechman),
911:
909:
907:
564:
1781:
Palazzoli Collection, Florence, item PDC-A-004661-0025
1325:
Gourret 1987, p. 41; Kutsch and Riemens 2003, p. 5022.
1125:
For a description of her Leonore, see Joseph Bennett,
889:, 'Sophie Cruvelli' (Appelton and Co., New York 1891)
1482:
Elizabeth Forbes, 'Sophie Cruvelli', short biography.
532:
904:
163:
for Lumley on 19 February 1848 as Elvira in Verdi's
1586:
Great Singers: Malibran to Titiens (Second Series)
386:. This was a sensation, and in Paris she also sang
946:(Stanley Paul, 1924), pp. 160–61 (footnote).
124:, and it was there, at the end of that year, that
901:Stated in German Knowledge: source not specified.
341:. In Milan and Genoa she made a great sensation.
1805:
1593:Dictionnaire des cantatrices de l'Opéra de Paris
58:Sophie CrĂĽwell was the daughter of a Protestant
960:(London, Hurst and Blackett 1864), 204–05, 211.
203:hearts – the patriotic shout fell on deaf ears.
34:(12 March 1826 – 6 November 1907) was a German
1572:Musical recollections of the last half-century
944:Sims Reeves – Fifty Years of Music in England
215:. A brief illness delayed her performance of
1693:, Chicago: The University of Chicago Press.
744:
1714:, (1848, 1851, 1852, 1853, 1854, and 1855).
1362:; Stephen Huebner 1990, pp. 40–42, 285–287.
1144:(Remington & Co, London 1882), 196–197.
444:The London season included the première of
372:in 1851, he engaged Cruvelli and the tenor
211:was revived for Cruvelli's appearance with
1625:. Oxford et al.: Oxford University Press.
114:on 24 July 1847, and later as Lucrezia in
1085:G. Tanasini, R. Iovino & B. Mattion,
545:, and then that she was singing Fidès in
154:
1574:2 vols. London: Tinsley Brothers, Vol. 2
891:Ferris on Cruvelli complete at Gutenberg
771:
624:, where she sang Desdemona in Rossini's
348:
251:Cruvelli had a short spell in Bellini's
18:
1834:19th-century German women opera singers
1524:New York Times, 16 May 1895 (as above).
1451:(Fairleigh Dickinson Univ. Press, 2002)
853:(Éditions A. et J. Picard, Paris 1979).
311:. In the same year she appeared at the
186:with Gardoni, Belletti (as Figaro) and
53:
1806:
1647:, 2 vols. Berlin: Verlag Hermann Kuhz.
1022:, Hurst and Blackett, London 1862, 27.
1726:Verdi und die Interpreten seiner Zeit
221:, but the cast of Gardoni (Gennaro),
1419:(Edward Arnold, London 1892), 48–49.
1341:
616:and was much admired and praised by
565:1854–1855: L'Opéra and Covent Garden
368:also became impresario of the Paris
96:Some sources attribute her debut to
1406:Verdi to Crosnier, in Kolodin, p. 7
1020:Thirty Years' Musical Recollections
13:
1545:Bazzetta de Vemenia, Nino (1945),
1175:Thirty Years Musical Recollections
497:Late in 1851 Cruvelli went to the
159:Cruvelli made her London début at
80:Revue et Gazette Musicale de Paris
14:
1850:
1786:
1353:Journal of Musicological Research
1549:Edizioni Giulio Volante, Novara.
1447:Robert Ignatius Letellier (Ed),
1270:(Novello & Co, London 1944).
355:Karl Friedrich Johann von MĂĽller
30:, vicountess Vigier, stage name
28:Sophie Johanne Charlotte CrĂĽwell
1581:Pars: Éditions A. et J. Picard.
1527:
1518:
1505:
1496:
1485:
1476:
1463:
1440:
1431:
1422:
1409:
1400:
1383:
1374:
1365:
1328:
1319:
1301:
1286:
1273:
1256:
1243:
1230:
1217:
1204:
1191:
1180:
1167:
1148:
1133:
1118:
1105:
1092:
1079:
1066:
1053:
1038:
1025:
1012:
999:
988:
964:
353:Portrait of Sophie Cruvelli by
180:Next she appeared as Rosina in
151:are more directly in evidence.
110:. She appeared in that role at
1584:Ferris, Georges Titus (1891),
1515:(R.H. Russell, New York 1902).
1513:Emma Calvé – Her Artistic Life
1268:Wagner and his first Elisabeth
1089:(SAGEP, Genova 1993), 479–603.
949:
936:
895:
879:
865:
856:
843:
1:
1800:(Obituary;copyright reserved)
1741:in Gillen D'Arcy Wood (Ed.),
1731:Strotdrees, Gisbert (1992),
1159:(OUP 2000), p. 142. (Quoting
832:
767:
23:Soprano Sophie Cruvelli, 1852
1749:
1721:Bielefeld. pp. 201–210.
1623:The Operas of Charles Gounod
413:Wilhelmine Schröder-Devrient
7:
1724:Springer, Christian (2000)
1708:London: Hurst and Blackett.
1610:. New York: Stein and Day.
1355:13, no. 1-2 (1993), 49–66;
1307:Anent this, see a story in
305:and Vincenzo Capecelatro's
10:
1855:
1706:Reminiscences of the Opera
1588:New York: Appelton and Co.
958:Reminiscences of the Opera
933:Ferris, 'Sophie Cruvelli'.
793:awarded to her, the papal
1719:Frauenalltag in Bielefeld
1704:Lumley, Benjamin (1864),
1650:Kolodin, Irving (1974), "
1570:Edmund Cox, John (1872),
1357:Anne Williams article re
1315:Mme. Cruvelli in a temper
825:(then newly set up under
757:by prima donna politics.
685:, and the "Second Flight"
104:, as Odabella in Verdi's
1829:Musicians from Bielefeld
1824:German operatic sopranos
1735:Münster, pp. 23–26.
1728:Wein: Verlag Holzhausen.
1636:Kaminsky, Piotr (2003),
1621:Huebner, Steven (1990),
1397:, 24 October 1854, p. 3.
721:The delayed première of
533:The "Flight of Cruvelli"
173:as Silva, and the tenor
1606:Harding, James (1973),
1577:Favre, Georges (1979),
1437:Cited by Anne Williams.
1297:(EDT srl 1986), p. 127.
1142:Balfe:His Life in Music
1140:Wm. Alexander Barrett,
523:Johanna Jachmann-Wagner
507:Il barbiere di Siviglia
299:Il barbiere di Siviglia
183:Il barbiere di Siviglia
1763:Marie-Alexandre Alophe
1678:. Munich: K. G. Saur.
1643:Kohut, Adolph (1906),
1591:Gourret, Jean (1987),
887:Great Singers Series 2
777:
723:Les vĂŞpres Siciliennes
683:Les vĂŞpres Siciliennes
655:Les vĂŞpres Siciliennes
483:Her Majesty's concerts
475:The Four Sons of Aymon
469:Michael Balfe's opera
361:
205:
155:London, Milan, Trieste
24:
1796:on www.bielefeld.de/
1743:Opera and Romanticism
1469:Camille Saint-Saëns,
775:
658:. Her performance of
471:Les Quatre fils Aymon
425:James William Davison
352:
319:in Verdi's new opera
200:
161:Her Majesty's Theatre
130:Her Majesty's Theatre
38:. She was a dramatic
22:
1779:Museum Collections,
1671:Großes Sängerlexikon
876:(see external link).
359:Château de Compiègne
261:, mainly in Verdi's
54:Origins and training
1389:For example, see:
1313:, 20 January 1884:
985:, p. 29 and note 6.
942:Charles E. Pearce,
589:and with Rachel in
325:, and repeated her
313:Teatro Carlo Felice
16:German opera singer
1792:Giesecke, Dagmar,
1767:See in Wikigallery
1674:, fourth edition,
1652:I vespri Siciliani
1640:. Éditions Fayard.
1638:Mille et un Opéras
1359:La Nonne sanglante
1349:La Nonne sanglante
778:
754:La nonne sanglante
752:Crosnier withdrew
696:La nonne sanglante
667:La nonne sanglante
640:) and Donna Anna (
609:La nonne sanglante
479:I quattro fratelli
464:Linda di Chamounix
462:with Sims Reeves.
456:Le nozze di Figaro
446:Sigismond Thalberg
379:Linda di Chamounix
362:
234:Le nozze di Figaro
91:Francesco Lamperti
87:Bartolomeo Merelli
25:
1712:The Musical World
1699:978-0-226-23926-2
1684:978-3-598-11598-1
1631:978-0-19-315329-5
1616:978-0-306-79712-5
1601:978-2-7273-0164-6
1595:Paris: Albatros.
1565:978-0-19-520068-3
1559:London: Cassell.
1415:Charles Santley,
1395:Sussex Advertiser
1391:Worcester Journal
956:Benjamin Lumley,
630:Antonio Tamburini
618:Théophile Gautier
439:Buckingham Palace
188:Federico Lablache
171:Giovanni Belletti
1846:
1799:
1777:Fratelli Alinari
1677:
1534:
1531:
1525:
1522:
1516:
1509:
1503:
1500:
1494:
1489:
1483:
1480:
1474:
1471:Musical Memories
1467:
1461:
1444:
1438:
1435:
1429:
1426:
1420:
1413:
1407:
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931:
920:
913:
902:
899:
893:
883:
877:
869:
863:
860:
854:
847:
739:Sicilian Vespers
701:Sicilian Vespers
675:Nestor Roqueplan
649:Robert le diable
245:Eugenia Tadolini
149:Agardi Metrovich
1854:
1853:
1849:
1848:
1847:
1845:
1844:
1843:
1839:German nobility
1804:
1803:
1797:
1789:
1752:
1675:
1666:Cruvelli, Sofia
1537:
1532:
1528:
1523:
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1293:Julian Budden,
1291:
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1080:
1074:Sophie Cruvelli
1071:
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1058:
1054:
1045:H. F. Chorley,
1043:
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880:
874:Tabak-fabrikant
870:
866:
861:
857:
849:Georges Favre,
848:
844:
835:
827:Raoul Gunsbourg
770:
750:
745:Cruvelli after
731:Charles Santley
687:
636:), Leonore (in
634:Giorgio Ronconi
567:
553:Aix-la-Chapelle
539:Lucrezia Borgia
535:
499:Théâtre-Italien
370:Théâtre-Italien
366:Benjamin Lumley
347:
218:Lucrezia Borgia
213:Filippo Coletti
157:
126:Benjamin Lumley
56:
32:Sophie Cruvelli
17:
12:
11:
5:
1852:
1842:
1841:
1836:
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1788:
1787:External links
1785:
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1163:, 26 May 1851)
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878:
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834:
831:
815:Queen Victoria
769:
766:
749:
743:
705:Louis Crosnier
686:
679:
671:Louis Guéymard
660:Les Huguenots
604:Charles Gounod
566:
563:
534:
531:
527:Richard Wagner
477:was given, as
417:Maria Malibran
346:
343:
223:Luigi Lablache
156:
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76:Marco Bordogni
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1281:Reminiscences
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1007:Reminiscences
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983:0-945193-56-4
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917:Great Singers
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503:La Sonnambula
500:
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492:La Sonnambula
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431:
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421:Michael Balfe
418:
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397:
393:
392:La Sonnambula
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209:I due Foscari
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175:Italo Gardoni
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1336:Thirty Years
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1047:Thirty Years
1046:
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1019:
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791:Pope Pius IX
786:
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734:
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682:
666:
664:
659:
653:
647:
643:Don Giovanni
641:
637:
613:
607:
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584:
574:
571:Napoléon III
568:
556:
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443:
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428:
427:, critic of
406:
404:
399:
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391:
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377:
363:
338:
334:
330:
326:
322:Luisa Miller
320:
308:David Riccio
306:
302:
298:
294:
290:
286:
278:Don Pasquale
276:
270:
266:
262:
252:
250:
238:
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208:
207:So instead,
206:
201:
191:
181:
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164:
158:
142:
115:
105:
95:
84:
79:
73:
57:
36:opera singer
31:
27:
26:
1819:1907 deaths
1814:1826 births
1798:(in German)
1676:(in German)
1662:Leo Riemens
1511:A. Gallus,
1225:Sims Reeves
1113:Sims Reeves
1100:Sims Reeves
819:Opera House
795:Golden Rose
762:L'Africaine
614:Le prophète
558:La traviata
548:Le prophète
488:Il barbiere
374:Sims Reeves
145:Franz Liszt
65:Louis Spohr
1808:Categories
1283:, 340–342.
1240:, 316–321.
1035:, 212–216.
833:References
799:Emma Calvé
768:Retirement
747:Les vĂŞpres
586:La vestale
400:Semiramide
248:Farewell.
229:Jenny Lind
1750:Portraits
1253:, 334–35.
1227:, p. 164.
1201:, 314–16.
1161:The Times
1102:, p. 160.
1063:, 224–25.
1009:, 212–13.
807:Lohengrin
543:Wiesbaden
473:based on
448:'s opera
430:The Times
275:, and in
138:La Fenice
102:La Fenice
60:Bielefeld
48:Meyerbeer
1664:(2003),
1555:(1978),
1334:Chorley
1279:Lumley,
1262:Lumley,
1249:Lumley,
1236:Lumley,
1223:Pearce,
1210:Lumley,
1197:Lumley,
1111:Pearce,
1098:Pearce,
1059:Lumley,
1031:Lumley,
1018:Chorley
1005:Lumley,
915:Ferris,
735:en route
596:La Juive
581:Spontini
451:Florinda
283:La Scala
1540:Sources
681:Verdi,
669:, with
638:Fidelio
515:Fidelio
408:Fidelio
396:Fidelio
357:(1852)
331:Nabucco
291:Nabucco
272:Macbeth
259:Trieste
240:Nabucco
198:wrote:
40:soprano
1697:
1682:
1629:
1614:
1608:Gounod
1599:
1563:
1456:
1338:, 211.
1214:, 320.
981:
823:Monaco
628:(with
626:Otello
591:Halévy
511:Ernani
460:Ernani
384:Ernani
337:, and
335:Attila
327:Ernani
295:Ernani
287:Attila
267:Ernani
263:Attila
192:Attila
166:Ernani
134:Rubini
122:Rovigo
107:Attila
98:Venice
69:Kassel
1115:, 99.
838:Notes
787:Norma
519:Norma
435:Norma
388:Norma
364:When
339:Norma
317:Genoa
303:Norma
254:Norma
112:Udine
44:Verdi
1695:ISBN
1680:ISBN
1627:ISBN
1612:ISBN
1597:ISBN
1561:ISBN
1454:ISBN
1049:, 24
979:ISBN
632:and
513:and
505:and
490:and
415:and
398:and
269:and
46:and
1351:,'
821:in
593:'s
583:'s
551:at
315:in
100:at
67:in
1810::
1668:,
1660:;
977:,
924:^
906:^
733:,
606:,
509:,
402:.
394:,
390:,
333:,
329:,
301:,
297:,
293:,
289:,
265:,
243:.
140:.
82:.
71:.
1769:.
1758:.
1701:.
1686:.
1633:.
1618:.
1603:.
1567:.
1460:.
1076:.
919:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
