Gourret J. Dictionnaire des Cantatrices de l'Opéra. Editions Albatros, Paris, 1987.
|
|
Gourret J. Dictionnaire des Cantatrices de l'Opéra. Editions Albatros, Paris, 1987.
|
|
Gourret J. Dictionnaire des cantatrices de l'Opéra de Paris. Editions Albatros, Paris, 1987.
|
|
Gourret J. Dictionnaire des cantatrices de l'Opera de Paris. Editions Albatros, Paris, 1987. She retired in 1940 and devoted herself to teaching. Her husband was the composer Henri Moreau-Febvre.
|
|
Nellie E. Brown Mitchell (1845 – January 5, 1924) was an American concert singer and music educator, "one of Boston's favorite cantatrices."James M. Trotter, Music and Some Highly Musical People (Johnson Reprint 1881): 192-208; quote on page 197.
|
|
At Kirsten Flagstad's recommendation, she gave a guest performance at La Scala in 1954, and then performed in the Ring Cycle at the Paris Grand Opera in 1955.Gourret, Jean. 1981. Encyclopédie des cantatrices de l'Opéra de Paris. Paris: Mengès, p. 265.
|
|
Cécile Simonnet (14 March 1865, Lille - ?,) was a French operatic soprano.Gourret J. Dictionnaire des cantatrices de l'Opera de Paris. Editions Albatros, Paris, 1987. Having obtained in Lille a first prize for singing, she entered the Paris Conservatoire in 1882, graduating in 1884 with first prize in song and opéra-comique (pupil of Bax).
|
|
Wolff S. Un demi-siècle d'Opéra-Comique (1900-1950). André Bonne, Paris, 1953. Sibille also sang Santuzza in Mascagni's Cavalleria rusticana, Giulietta in Les Contes d'Hoffmann, the mother in Louise, Taven in Mireille, Anila in La Navaraisse, Télémaque in Pénélope and Geneviève in Pélléas et Mélisande.Gourret J. Dictionnaire des cantatrices de l'Opera de Paris.
|
|
Edmée Favart Edmée Favart (1879Gourret, J. Dictionnaire des cantatrices de l'Opera de Paris. Paris: Editions Albatros, 1987, gives 1884 as the birth year. - 29 October 1941) was a French soprano who had a varied and major career in opera and opéra comique and left many recordings of songs from roles she performed on stage.
|
|
14; ENO programme booklet, 12 January 1988 She made her Royal Opera House, Covent Garden debut in 1974Warrack, John Hamilton and Ewan West. "Moody, Fanny", The Concise Oxford Dictionary of Opera, Oxford University Press, p. 324 (3rd Edition 1996), accessed 7 May 2012 and her French debut at Toulouse in 1975 as Manon.Gourret J. Dictionnaire des Cantatrices de l’Opéra.
|
|
Cernay studied the piano before entering the Conservatoire de Paris for vocal studies under Albers and Engel, winning first prizes in 1925.Gourret J. Dictionnaire des Cantatrices de l'Opéra. Editions Albatros, Paris, 1987. She made her debut at the Opéra-Comique in Paris on 16 May 1927 as la Bossue in the Paris premiere of Alfano’s Risurrezione (in French).
|
|
At the Opéra-Comique in Paris she sang the role of Adèle in the opérette Malvina by Hahn on 12 July 1945.Art-Lyrique - Cantatrices de l'Opéra-Comique accessed 23 April 2020. She appeared at the Besançon Festival in 1948.Semaine musical de Besançon. Combat : organe du Mouvement de libération française, Paris, 4th July 1948, p4.
|
|
In 1957 she created the role of Soeur Constance in the French premiere of Dialogues des Carmélites by Francis Poulenc. As well as Paris, she sang frequently in the French provincial houses, as well as at the Festivals of Aix-en-Provence, Edinburgh, Glyndebourne and the Netherlands, and in Rio de Janeiro, Buenos-Aires, Lisbon and London.Gourret J. Dictionnaire des cantatrices de l'Opera de Paris.
|
|
Gourret J. Dictionnaire des Cantatrices de l'Opéra. Editions Albatros, Paris, 1987. Four years later, in 1950, she was awarded first prize in the school's onstage competitions for opera and opéra comique and second prize in the school's singing competition. Traditionally past winners of Conservatoire's competitions were offered performance contracts with the Opéra National de Paris, but Crespin was for some unknown reason not offered one.
|
|
Caron was born in 17 November 1857 at Monnerville and studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880).Gourret J. Dictionnaire des cantatrices de l'Opera de Paris. Editions Albatros, Paris, 1987.
|
|
Her other roles at the Opéra- Comique included revivals of Madame Butterfly (Kate and Cio-Cio San), Cavalleria rusticana (Lola and Santuzza), Les Contes d'Hoffmann (Giulietta and Antonia), and La bohème (Musetta).Cantatrices de l'Opéra-Comique. "Saïman, Mathilde Alice dite Mathilde". Association l'Art Lyrique Français In his memoirs Pierre-Barthélemy Gheusi, one of the directors of the Opéra-Comique, described her as a "vibrant actress" whose voice had a "radiant timbre".
|
|
She sang Rozenn (Le roi d'Ys) at both the Salle Favart and the Salle Garnier, as well as Mélisande in Ariane et Barbe-bleue at the Opéra.Gourret J. Dictionnaire des cantatrices de l'Opera de Paris. Editions Albatros, Paris, 1987. While her operatic career continued, the post-war years saw Joachim develop a fruitful relationship in recital with Jane Bathori; later in the 1950s, with other accompanists she made several broadcasts for French radio.
|
|
She also created the roles of Thérèse in les Mamelles de Tirésias, Francesca in le Oui des Jeunes Filles, Valentine in ll était un Petit Navire, and the title role in Dolorès. She sang Madame Fabien in the French premiere of Vol de nuit (Volo di notte) by Luigi Dallapiccola in 1960. At the Paris Opéra she sang Salomé in 1947 and followed this with Thaïs, Rosenn in Le Roi d'Ys, Portia in Le Marchand de Venise and Les Indes GalantesGourret J. Dictionnaire des cantatrices de l'Opera de Paris.
|
|
He wrote, in collaboration with his brother, Études biographiques sur les chanteurs contemporains (1840), Dictionnaire de musique (1844), Vie et aventures des cantatrices célèbres (1856), and his autobiography, Mes souvenirs (1870). After he died in Paris, his catalogue came up for auction and was bought by a range of French music publishers including E. & A. Girod, Louis Gregh, Léon Grus, Georges Hartmann, Henri Heugel, Auguste Le Bailly, Alphonse Leduc, Henry Lemoine, and Auguste O'Kelly.Anik Devriès & François Lesure, Dictionnaire des éditeurs de musique français, vol. 2: De 1820 à 1914 (Geneva: Minkoff, 1988); Axel Klein, O'Kelly.
|
|
After starting work as a secretary Revoil followed courses in singing and acting at the Marseille Conservatoire, making her debut in Montpellier in 1928 in Gillette de Narbonne (which also marked her farewell to the stage in 1957), then appeared in Mulhouse in Comtesse Maritza, before joining the company in Le Havre, singing in operettas from both the Paris and Vienna traditions (including the French premiere of Frasquita), as well as in Carmen.Gourret J. Dictionnaire des cantatrices de l'Opera de Paris. Editions Albatros, Paris, 1987. In 1933, she made her first appearances in Paris, at the Théâtre de la Porte Saint-Martin in small roles before creating Madame Dubarry in the French premiere of La Dubarry.
|
|
She later sang Cherubino in Le nozze di Figaro, Olympia in Les contes d'Hoffmann, Rosina in Il barbiere di Siviglia, Leila in Les pêcheurs de perles, Micaela in Carmen, and the title role in Lakmé at the Salle Favart. By 1935 her performances gained her invitations to Marseille (Lakmé), and then (at the instigation of Pierre Monteux) to Amsterdam (Mélisande) and San Francisco. In Buenos Aires Erich Kleiber conducted her in Sophie in Der Rosenkavalier. She created the role of Creuse in Darius Milhaud's Médée, for her debut at the Paris Opéra in 1940, where she also sang Gilda in Rigoletto, Violetta in La traviata and Sophie in Der Rosenkavalier, among other roles.Gourret J. Dictionnaire des Cantatrices de l’Opéra.
|
|
After a break, she returned for Psyché (Eros) by Thomas on 26 January 1857.S. Wolff: Un demi- siècle d'Opéra-Comique (1900–1950) (Paris: André Bonne, 1953). She sang in Auber's L’enfant prodigue in London in 1851. At the Paris Opéra she sang Alice in Robert le diable in 1851 and Leonora in Il Trovatore (1858).J. Gourret: Dictionnaire des cantatrices de l'Opéra de Paris (Paris: Éditions Albatros, 1987). In 1858, she made her debut at the Théâtre Lyrique, where she sang Suzanne in Les Noces de Figaro, Carabosse Mélodine in La Fée Carabosse by Massé (28 February 1859), Blondine in L’Enlèvement au Sérail (1859), Martine in Ma tante dort (21 Jan 1860), and the title role in Gil Blas (24 March 1860).
|
|
Chrétien-Vaguet as Valentine, in Les Huguenots, 1894. Albertine Marie Chrétien-Vaguet (8 March 1872 – 28 February 1963) was a French operatic soprano. Chrétien-Vaguet was born in Paris. She studied the piano at the Conservatoire de Paris and began her career at La Monnaie in Brussels in 1891.Gourret J. Dictionnaire des cantatrices de l’opéra de Paris. Editions Albatros, Paris, 1987. Chrétien-Vaguet’s first operatic appearance in Brussels was as Alice in Robert le Diable, (7 September 1891); she followed this with roles in le Rêve, Yolande by Magnard (creating the title role on 27 December 1892), and Charlotte in Werther. Her debut at the Paris Opéra was again as Alice in Robert le Diable on 31 juillet 1893, going on to sing in Lohengrin, Les Huguenots, la Walkyrie, Djelma, and the premiere of Deïdamie (1 December 1893).
|
|