" Rudolf Bing, the company's general manager during Ms. Munsel's tenure, is said to have called her "a superb soubrette.
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Possessed of a light, fleet instrument, she confined herself to coloratura and soubrette roles, steering clear of heavier fare.
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She has an exceptional leap, an ebullient soubrette quality ("Champagne on the stage" as they said of Lydia Lopokova a century ago), and a touch of laughter in her movement.
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Alice Wentworth (the lady on the examining table, played to sparking soubrette perfection by Scarlett Strallen) has fallen hard for a hunky speakeasy-owning gangster, Al Spanish (Tam Mutu, in tasty shades of noir).
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This does not mean that these singers are soubrette sopranos but it does mean they can play soubrette roles. The coloratura soprano has a higher range, can sing more dexterous vocal passages and has a somewhat brighter sound than the soubrette. The lyric soprano has a richer voice and higher range than the soubrette soprano. The mezzo-soprano can sing as high as a soubrette but with a darker timbre and heavier weight in the voice.
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Soubrette werd' ich nie was recorded at Hansa Studios in Berlin between April and September 1992.CD insert notes (2007) (in German). Soubrette werd' ich nie. Rosenstolz. Universal Music Group. 17448667.
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Prior to the release of the debut album Soubrette werd' ich nie, Rosenstolz produced three different music cassettes that were sold privately. A selection of demo songs from these cassettes can be found in the 2007 deluxe edition of Soubrette werd' ich nie as a bonus CD.Roberto Monden (2007) (CD insert notes) (in German). Soubrette werd' ich nie. Rosenstolz. Universal Music Group. 17448667.
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The band's first concerts in Italy were met with a negative response from the crowd, leading the band to add two new members to the line-up: Annarella Giudici "Benemerita soubrette",Well-deserved soubrette and a performer named Danilo Fatur. Annarella, Fatur, and for a little time Silvia Bonvicini (a second "Benemerita soubrette") contributed to characterize their concerts by playing comic-demential sketches during their gigs.
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In 2013 he was involved in a romantic relationship with the Italian soubrette Elisabetta Canalis.
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Soubrette werd' ich nie (I'll never become a soubrette) is the debut album by German pop duo Rosenstolz, released in 1992 by Pool. The album was not a commercial success following its initial release. However, the 2007 re-release reached No. 93 in the German albums chart.
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More interesting is Daisy (soubrette): sly, brave, she knows what she wants and how to get it.
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Eleonora Cortini (born 14 January 1992, in Trieste) is an Italian Soubrette, model, actress and television presenter.
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A soubrette is a type of operatic soprano voice fach, often cast as a female stock character in opera and theatre. The term arrived in English from Provençal via French, and means "conceited" or "coy". A soubrette is also defined as a young woman regarded as flirtatious or frivolous.
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In classical music and opera, a soubrette soprano refers to both a voice type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, and with no extensive coloratura. The soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter vocal weight than other soprano voices with a brighter timbre.
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The Soubrette and the Simp is a 1914 American silent comedy film featuring Mabel Paige and Oliver Hardy.
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Typically these roles are sung by younger singers and both sopranos and mezzo-sopranos are cast in them. Many soubrette roles have a considerable amount of spoken German dialogue, and therefore the soubrette singer must possess both an excellent comprehension of the German language and considerable acting skills. It is rare today to find true soubrettes singing in major opera houses as their voices are typically unable to carry over larger orchestras in larger halls. Often lyric, coloratura, and mezzo-sopranos are cast in soubrette roles, especially in the early part of their singing careers.
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Within the soprano voice type category are five generally recognized subcategories: coloratura soprano, soubrette, lyric soprano, spinto soprano, and dramatic soprano.
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Soubrette werd' ich nie was first released in 1992 by indie record label Pool. The label also brought out a limited edition album (100 copies) featuring an alternative album cover. The album was then re-released in 1993 with a new album cover. In 1996 and 2002, Soubrette werd' ich nie was re-released by Polydor Records.
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Annie Lewis (c. 1869 – 1896) was an American soubrette of light operas and musical comedies who died from tuberculosis in her twenties.
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Many young singers start out as soubrettes, but, as they grow older and the voice matures more physically, they may be reclassified as another voice type, usually either a light lyric soprano, a lyric coloratura soprano, or a coloratura mezzo-soprano. Rarely does a singer remain a soubrette throughout her entire career. A soubrette's range extends approximately from middle C (C4) to "high D" (D6).Music Dictionary Vm–Vz: Voice (s.), Voices (pl.) – coloratura-soubrette or soprano lirico leggiero, Dolmetsch The tessitura of the soubrette tends to lie a bit lower than the lyric soprano and spinto soprano.
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Many young singers start out as soubrettes but as they grow older and the voice matures more physically they may be reclassified as another voice type, usually either a light lyric soprano, a lyric coloratura soprano, or a coloratura mezzo-soprano. Rarely does a singer remain a soubrette throughout her entire career. The tessitura of the soubrette tends to lie a bit lower than the lyric soprano and spinto soprano. The soubrette roles are typically found in comic operas or operettas and they usually portray good-looking, youthful girls who are flirtatious, saucy, and street- wise.
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Mezzos also have a much more extensive range in the lower register.IPA Source – Soprano. In addition, the beautiful light voice of the soubrette is ideal for baroque music, early music and baroque opera, as well as many art songs. However, the soubrette soprano voice is limited even in this repertoire by its lack of coloratura skill and relatively limited range.
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Wanda Osiris (, Italianized as Vanda Osiri during the Fascist era; 3 June 1905 - 11 November 1994) was an Italian revue soubrette, actress and singer.
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In 1796-99, she was engaged at the Vlastenské Theatre. She performed in both theater plays and operas and was perticularly noted as a soubrette.
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In classical music and opera, the term soubrette refers to both a soprano voice type and a type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, but lacking extensive coloratura.voicetype A soubrette's vocal range extends approximately from middle C (C4) to "high D" (D6). The voice has a lighter vocal weight than other soprano voices with a brighter timbre.
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Marisa Maresca (17 July 1923 - 18 August 1988) was an Italian showgirl, soubrette, and theatre dancer. Her mother was also a soubrette, her father was an impresario, and her uncle sang operettas. Her sister Lydia Maresca, herself an actress with the stage name Lidia Martora, was the wife of Peppino De Filippo. In 1938, at the age of 15, Maresca joined the company of Erminio Macario, becoming one of the comedy performers in Turin.
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Manuela Arcuri (born 8 January 1977, Anagni) is an Italian actress, model and soubrette. She was the protagonist of two successful fiction L'onore e il rispetto and Il peccato e la vergogna.
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Soubrette: Blossom Dearie Sings Broadway Hit Songs is a 1960 studio album by Blossom Dearie, with an orchestra arranged by Russell Garcia. This was Dearie's first album recorded with full orchestral arrangements.
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She was often cast in "soubrette" roles, especially in adaptations from Moliere. Her acting career ended when she developed memory problems associated with dementia; her last stage appearance was in Skopje in 1915.
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"Sebright Music Hall, Hackney", Over the Footlights.co.uk, accessed 28 February 2013 On 23 October, The Era called her "a pretty little soubrette who dances with great dash and energy."As quoted in Farson, p.
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Pratt was married to D'Oyly Carte soubrette Joyce Wright during his days with that company. He later married Patience Sheffield, a BBC drama Studio Manager and daughter of former D'Oyly Carte baritone Leo Sheffield.
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In theatre, a soubrette is a comedy character who is vain and girlish, mischievous, lighthearted, coquettish and gossipy—often a chambermaid or confidante of the ingénue. She often displays a flirtatious or even sexually aggressive nature. The soubrette appeared in commedia dell'arte scenarios, often in the role of Columbina, where the actress would provide the details of her behavior and dialogue. From there, she moved to the works of Molière, which were influenced by the Commedia; the role of Dorine in Tartuffe (1664) fits the description.
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Kendall happened to be performing in Dublin on 16 June 1904, the fictional date of James Joyce's novel Ulysses, and a supposed poster depicting her as a "charming soubrette" becomes a minor motif in the book.
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Wilhelmina Söhrling (1872) Maria Wilhelmina Strandberg née Söhrling (6 November 1845 –16 October 1914) was a Swedish operatic mezzo-soprano who performed at the Royal Theatre in Stockholm from 1867 to 1903, mainly in soubrette roles.
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One of the songs on the album, "Schlampenfieber", was originally written for the soundtrack for an independent film. However, the film was never made.Peter Plate (2007) (CD insert notes) (in German). Soubrette werd' ich nie. Rosenstolz.
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Two other types of soprano are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo-soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico.
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Kusche was a Bavarian Kammersänger and holder of the Bundesverdienstkreuzes 1. Klasse and the Bavarian Order of Merit. Kusche had a daughter Eveline from his first marriage. In 1960 he married the actress and soubrette Christine Görner.
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Gertrude Quinlan as "Marietta" in La bohème, with Castle Square Opera Company Gertrude Quinlan signature Gertrude Quinlan (February 25, 1875 [or February 23, 1880] - November 29, 1963) was an American actress of soubrette roles, singing in over 125 operas. Quinlan spent most of her youth in Boston. Before she finished school, she made her first appearance with the Castle Square Opera Company, then located in Boston. She sang in the chorus for about two years and she was entrusted with small speaking parts, gradually working her way up to be principal soubrette.
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Rosy Barsony (1909–1977) was a Hungarian-born dancer, singer and film actress.von Dassanowsky p.70 Rosy was born Róza Sonnenschein on 5 June 1909 in Budapest. She was a child performer and became a leading operetta soubrette.
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She was noticed by Andre Charlot, who envisioned her as an English soubrette. He put Le Breton in several revues in which she sang and performed a stiff-legged doll dance that became the highlight of the shows.
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The light lyric soprano has a bigger voice than a soubrette but still possesses a youthful quality. The full lyric soprano has a more mature sound than a light-lyric soprano and can be heard over a bigger orchestra.
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Wilhelmine Ullmayer (1846-1890) was a stage actor. She was engaged at the Estates Theatre in Prague in 1874-1890, where she belonged to the theatre's star attractions. She was known for her roles a soubrette and operetta singer.
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Clara Jecks, from an 1896 publication. Clara Jecks, in costume as a young man, from an 1895 publication Clara Jecks (22 September 1854 – 5 January 1951) was an English musical comedy performer, best known for soubrette and boy roles.
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23 May 2004. "Schlampenfieber" was released as a single, as was "Ich geh' auf Glas", another song from Soubrette werd' ich nie. However, both failed to enter the German singles chart."Single - Rosenstolz, Ich geh auf Glas" (in German). charts.de.
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Mary Euphemia "Effie" Germon (June 13, 1845 – March 6, 1914) was an American stage actress of the late 19th century from Augusta, Georgia, a descendant of the Germons of Baltimore who were an old theatrical family. She excelled as a soubrette.
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The Veronese sisters are considered two of the most notable interpreters of the soubrette-parts of the commedia dell'arte. They were known as Corallina (Coraline in French) and Camilla, respectively, after their standard parts. Anna was particularly known for her quick costume changes.
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Between 1896 and 1909, Connie Leon was popular in provincial theatre as a singer, dancer and comedian, including pantomime and in soubrette roles.The Era, 1 August 1896. The Gaiety Theatre, Burnley: "Miss Connie Leon, vocalist and dancer."The Era, 7 November 1896.
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Many operettas and musicals include soubrette characters, such as Valencienne in The Merry WidowThe Merry Widow – VLOG Spring 2006 ., and in Gilbert and Sullivan the Jessie Bond mezzo-soprano roles such as Cousin Hebe (H.M.S. Pinafore) and Lady Angela (Patience).Jessie Bond.
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Sein Leben und seine Zeit. Verlag: H.R. Engelmann, Berlin. p. 496 From midst November 1866, he started to drink without limits and in a state of turmoil and distress ended up with the Jewish soubrette Elise Kreuzer of the Actien- Volkstheater.Salomon Wininger, 1936.
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Stockholm: Stockholm Fischer & company. Marguerite Du Londel was trained as a ballet dancer, actress and singer, which was not uncommon at the time. From 1759 onward, she additionally participated as both an actress and a singer. As an actress, she mainly participated in soubrette roles.
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She was particularly known for her ability as a soubrette, and among her more famed roles where Angela in Black Domino. She resumed her career in Denmark in 1850, where she had a moderately successful career at the Kasinoteatern and Folketheatret until her retirement in 1884.
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Her army defeats the Count and his evil forces, demons drag Hertzog into hell, and Amina and Rodolphe live happily ever after. Comedy was provided by servants, especially J. G. Burnett as von Puffengruntz, and the most popular song was "You Naughty, Naughty Men", for the soubrette Carline.
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The 26th Scripps National Spelling Bee was held in Washington, District of Columbia on May 21, 1953, sponsored by the E.W. Scripps Company. The winner was 13-year-old Elizabeth Hess of Arizona, correctly spelling the word soubrette.(22 May 1953). Lizzie Lost Her Concinnity But Soubrette Spells Victory, Milwaukee Sentinel (Associated Press) 11-year-old Raymond A. Sokolov of Detroit, Michigan placed second, falling on "spermaceti", after finishing 22nd the prior year. Third place went to 13-year-old David Hudson of Cuyahoga Falls, Ohio, who had placed sixth the prior year. There were 53 contestants this year, 37 girls and 16 boys. Four were returning spellers, and the youngest speller this year was 11.(21 May 1953).
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Emmy Loose (22 January 1914 in Chabařovice – 14 October 1987 in Vienna) was an Austrian operatic soprano particularly associated with soubrette roles. After vocal studies in Prague Conservatory, she made her stage debut in Hanover as Blonchen in Die Entführung aus dem Serail, in 1939. She first appeared at the Vienna State Opera in 1941, as Annchen in Der Freischütz, and remained with this theatre some 25 years, establishing herself in Mozart soubrette roles (Susanna, Zerlina, Despina). She made guest appearances at the festivals of Salzburg, Aix-en-Provence, and Glyndebourne, at La Scala in Milan, the Royal Opera House in London, the Liceu in Barcelona, the San Carlo in Naples, the Munich State Opera, etc.
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From 1882 she was active in operetta as well as in the show and comedy in Prague. In 1885 she left the engagement and came to the Theater an der Wien. After that she lived in Graz. Some years later she performed as first soubrette at the Theater in der Josefstadt.
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Spelling Bee Under Way, San Mateo Times 541 words were used. The contest started at 8:45 am and continued until 5:40pm except for a lunch break and brief recesses.(20 June 1953). "Soubrette" Takes Catholic Student To Victory In National Spelling Bee , The Bulletin (Augusta, Georgia)(21 May 1953).
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As was not uncommon at the time, she was both a dancer as well as an actor. She played heroines, soubrette and mother-parts. While being of Austrian origin and somewhat criticized for her Austrian dialect, she performed both in the Czech language as well as in the German language.
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As a teenager she became popular in London, England, as an actress of singing chambermaids. This was the term given soubrette roles at the time. d'Elmar returned to America with Emily Soldene for a role in Genevieve de Brabant by Jacques Offenbach. She played other opera bouffes and toured in Frivolity.
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Thekla Kneisel, née Thekla Demmer (1802 in Frankfurt – 23 August 1832 in Vienna) was an Austrian actress and operatic mezzosoprano as well as a soubrette. She came from the actors family Krüger-Demmer and died at the age of 30 after a successful stage career in Vienna lasting only 15 years.
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Fairly pretty and very small for her age, Jumel made the most of her youthful look and often wore a lace dress and ringlets during performances - which completed her girlish features. When her father enlisted, Jumel became a soubrette working in end-of-pier variety shows in the North of England.
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By the early thirties he was an established singer. He met his second wife, Dorothy Annie Alice Prior (stage name, Paddy Prior) when she heard him sing in a concert at the Concert Artistes Association. She was a soubrette, mezzo- soprano and comedian who had worked in the theatre since her late teens.
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Irene Eisinger was born in the small Silesian town Cosel, belonging to the German Empire at the time of her birth. Today, the town is in Poland. She was trained as a soubrette soprano and studied acting with Paula Mark-Neusser in Vienna and piano with G. Schönewald.vgl. Müller, Reinhard: Paula Mark-Neusser.
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Panjandrum, ca. 1893 In February 1889, she appeared for the first time in New York, at Niblo's Garden. Her operetta roles brought her to the attention of Heinrich Conried, who had her play Yvonne, the soubrette part in The King's Fool, singing the song "Fair Columbia".Browne, Walter and E. De Roy Koch.
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Allegedly he sang an almost unbelievable number of parts (between 300 and 500).Rudolf Brinkmann on Großes Sängerlexikon, Brinkmann, who was attached to the ideas of Freemasonry,Deutsches Bühnen-Jahrbuch 1929. Guild of the German Stage, Berlin 1929, was married with the opera soubrette Minnie Rau. He died at the age of 54 in Frankfurt.
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While performing in Italy he married the soprano Teresa Calvesi who specialized in comprimario and soubrette roles.Vincenzo Calvesi at operissimo.com In 1785 Calvesi and his wife joined the roster of singers at the Burgtheater in Vienna. Calvesi made his first appearance at that opera house as Sandrino in Giovanni Paisiello's Il re Teodoro in 1785.
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Eugenia Ratti (born April 5, 1933) is an Italian soprano, particularly associated with the Italian repertory. A lyric coloratura soprano of considerable charm, she excelled in soubrette roles in works by Cimarosa and Mozart such as Susanna, Zerlina, Despina, and in light Donizetti such as Adina, Norina, as well as Verdi's Oscar and Nannetta.
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In 1784-87, she acted in children's roles at the pioneer Czech language Vlastenské Theatre, where she belonged to the first actresses employed. In 1789, she was contracted at the Estates Theatre. She mainly played soubrette and heroine roles. As her father, she also performed as a ballet dancer when the theater offered such performances.
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Alles Gute was first released in April 1998,Kurtz, Andreas. "Die geplante Sensation" (in German). Berliner Zeitung. 22 April 1998. containing songs from Rosenstolz's first five studio albums: Soubrette werd' ich nie (1992), Nur einmal noch (1994), Mittwoch is' er fällig (1995), Objekt der Begierde (1996) and Die Schlampen sind müde (1997)."Rosenstolz". swisscharts.com.
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Holt was prohibited from appearing in films. She still enjoyed engagements as a soubrette at the Komische Oper in Berlin. When Jewish publisher Felix Guggenheim (1904-1976) married her in 1936, it was no longer possible. In 1938 the couple emigrated first to Switzerland, then in 1940 to England, and later to the United States.
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Dunblane was a "clever young American actress" on Broadway at the turn into the 20th century, often seen in soubrette roles."Nora Dunblane" Broadway Magazine' (December 1900): 161."Nora Dunblane" The Judge (September 14, 1901): 4. Dunblane's stage credits included roles in Cyrano de Bergerac (1898) with Richard Mansfield,Paul Wilstach, "Richard Mansfield" Scribner's Magazine (November 1908): 539.
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In 1948, she achieved the rank of a ballerina; she and her husband had both moved to the Ballet Russe de Monte Carlo, directed by Serge Denham. Radio City Music Hall often showcased her as a prima ballerina. In 1954 Larkin toured Asia, performing in Alexandra Danilova's "Great Movements in Dance". She excelled in comical roles as a soubrette.
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Starting in 1945 with Wonder Man, her first film, her singing was dubbed. However, the Decca Broadway Original Cast Album of 1943's revival of A Connecticut Yankee has two vocals by Vera-Ellen, "I Feel at Home with You" and "You Always Love the Same Girl," both duets with Chester Stratton. Her style is of a comic soubrette.
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Finally, to obey the implied > injunction that the first shall be last, there is Gaby Deslys. Mr. Fox tells > The Lady of the Lilies, "I think you're clever," and Mr. Fox is entitled to > his opinion, but it isn't ours. To us, Mile. Deslys always has seemed quite > an ordinary French soubrette, full of gurgles, gasps and aspirations.
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Words like lyric, dramatic, coloratura, and other defining qualities should never be applied to a non-classical singer. Also specific kinds of voices like soubrette and spinto should not be used outside of classical singing. The main categories, however, can be, as long as they refer solely to range. A non-classical singer could use the chart that follows.
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Dodi Protero (March 13, 1931 – April 22, 2007) was a Canadian operatic soprano who had a prolific international career from 1955 through 1980. A singer with a great deal of technical finesse, she excelled in the coloratura soprano and soubrette repertoires. She later had a successful second career as a voice teacher.Protero, Dodi Biography at operissimo.
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From then on Hillard is full forty fathoms deep in > love and curiosity. Then the scene shifts to Italy, with the shifting > fortunes of an American comic opera company, stranded at Venice. The > beautiful singer becomes the prima donna of this company. The soubrette is > one Kitty Killigrew, and around her flourishes a most enticing, exciting and > enlivening subplot.
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Edwardes was known for performing soubrette parts using an exaggerated accent called "Americanized Cockney" by one reviewer.Lewis Clinton Strang, Prima Donnas and Soubrettes of Light Opera and Musical Comedy in America, L. C. Page & Company (1900): 114–119. In 1906, ragtime composer Cora Folsom Salisbury wrote a valse caprice for piano named "Paula" and dedicated it to Edwardes.
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The daughter of a journalist, she began her film career at UFA. She quickly advanced to starring roles alongside Gustav Fröhlich and Hans Albers. After singing lessons, she was committed in 1931 as a soubrette at the Grosses Schauspielhaus in Berlin. However, the Nazi takeover ended her film career after six successful years, since she was allegedly half-Jewish.
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"Little Buttercup ... my best shot!", Kurt Gänzl's blog, 30 April 2018 In these early years she was cast in soubrette roles (the theatrical paper The Era described her as "sufficiently arch and saucy"),"Provincial Theatricals", The Era, 19 January 1862, p. 11; and "The Theatres, &c;", The Era, 2 October 1864, p. 10 and in breeches roles in Christmas shows.
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As a child Pope and her brother were recruited as child extras for a Lilliputian production for Garrick in 1756. From this she speedily developed into soubrette roles. Pope had a dispute with Garrick over whether she was worth eight or ten pounds a week. She left his company but returned when he offered to reemploy her and Pope agreed to eight pounds.
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He was on summer holiday in northern Italy when he was diagnosed with lymphatic cancer. He had recently fallen in love with a woman from Moscow, Alexandra Mironova. She was twelve years his junior and was a well-known soubrette in Berlin's Schillertheater under the pseudonym Barbara Diu. Mitja called her Barbara as he did not like her Russian name.
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Green was cast in such conventional juvenile parts as Becky Thatcher in Tom Sawyer (1930) and Huckleberry Finn (1931) opposite Jackie Coogan and Jackie Searl. She also starred in the title role of Little Orphan Annie. At the age of 14, she played a soubrette role in Transatlantic Merry-Go-Round (1934). This film closed out the first stage of her Hollywood career.
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William Chapman, her father, raised her to become an actress and entertainer. As a child, she made her acting debut in 1829 at the American Opera House. In 1831, her father moved the family on a riverboat on the Mississippi River which became "Chapman's Floating Palace." As a young girl, Chapman acted primarily in soubrette roles, performing as comedian, dancer, and singer.
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The lyric soprano is a warm voice with a bright, full timbre, which can be heard over a big orchestra. It generally has a higher tessitura than a soubrette and usually plays ingénues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C4) to "high D" (D6). The lyric soprano may be a light lyric soprano or a full lyric soprano.
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First Signs Of Theatrical Activity, The New York Times, July 30, 1911, pg. X8. The Red Rose was her final New York appearance in a leading soubrette role. In November 1911 the cast for Jacinta, an opera comique by Heinrich Berté, was announced by John Cort. Reynolds was a principal in the company for the play which was to debut in Providence, Rhode Island on November 27.
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This led to more characters without masks, such as the "servetta (French, soubrette)," who was the female servant that was also unmasked such as Colombina. Though unmasked she would have heavy makeup around her eyes drawing the focus there. Pedrolino did not wear a mask, instead he had a floured face. He was the start of the white clowns we see today in circuses and in mime.
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Barclay had played the title role in America, Stroud had been a D'Oyly Carte performer in Britain in 1926 and had extensive Gilbert and Sullivan experience in Australia, and Paynter had performed Pitti-Sing and the other soubrette roles for five years with D'Oyly Carte touring companies under the name Elisabeth Nickel-Lean. Nearly all the chorus were current or former performers with D'Oyly Carte.
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After a few months in Lwów, she was engaged in Rumania and then Chernovets, as a soubrette - and she became der libling fun teater-oylem (the darling of the theater audiences).Zalmen Zylbercweig, Leksikon fun Yidishn teater, Book five, 4053 After three years she returned to Lwów. In 1915 she played in the Polish-language Bagatela miniature theater. In 1917 she starred in Pinsk, now Belarus.
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Hansi Niese made her debut at age 18 in 1891 in the South Moravian town of Znojmo at the local theater. Her success story began in 1893 at the Vienna Raimund Theater, where she appeared in the series for six years as a soubrette. In 1899 she moved to the theater an der Josefstadt. Soon after, she married Josef Jarno, the director of this theater.
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In 1929, Eyre studied with a voice teacher to lower her range to prepare for her new assignments and became the company's principal soubrette, playing Cousin Hebe in H.M.S. Pinafore, Edith in The Pirates of Penzance, Saphir in Patience, the title role in Iolanthe, Pitti-Sing in The Mikado, Mad Margaret in Ruddigore, and Tessa in The Gondoliers. She gave up the latter four roles from October 1929 to May 1930, when the popular Nellie Briercliffe rejoined the company for the London season, but Eyre added Constance in The Sorcerer at the same time. In 1930, Eyre resumed all her principal soubrette roles, except switching to Lady Angela in Patience and adding Melissa in Princess Ida and Phoebe Meryll in The Yeomen of the Guard. She played these roles for the next 15 seasons, until she left the D'Oyly Carte Opera Company in 1946.
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Mily-Meyer as Mademoiselle Lenormand in La revue retrospective, 1899 Émilie Mily Meyer, stage name 'Mily-Meyer' was a French soprano, born 1852 in Paris, died there in 1927, who for a quarter of a century became a major star of the Parisian operetta stage, and is described by Gänzl as "impishly boyish yet obviously feminine soubrette".Gänzl, K. The Encyclopedia of the Musical Theatre. Oxford: Blackwell, 1994.
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Partlet in The Sorcerer transformed into Little Buttercup in Pinafore, then into Ruth, the piratical maid-of-all-work in Pirates. Relatively unknown performers whom Gilbert and Sullivan engaged early in the collaboration would stay with the company for many years, becoming stars of the Victorian stage. These included George Grossmith, the principal comic; Rutland Barrington, the lyric baritone; Richard Temple, the bass-baritone; and Jessie Bond, the mezzo-soprano soubrette.
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Ludmila Skokanová was born on 3 February 1906 in Prague, Austria-Hungary. She graduated from the Prague Conservatory in 1925 and began her career at the National Theater as a soubrette. Hired to work in the operatic ensemble at the Municipal Theater in Olomouc, she met the composer, conductor, and pedagogue, . The couple married in an arrangement of convenience and after her marriage, Pecháčkova turned to literary work.
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Born in Merseburg, Schumann trained for a singing career in Berlin and Dresden. She made her stage debut in Hamburg in 1909. Her initial career started in the lighter soubrette roles that expanded into mostly lyrical roles, some coloratura roles, and even a few dramatic roles. She remained at the Hamburg State Opera until 1919, also singing during the 1914/1915 season at the Metropolitan Opera, New York.
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Rayne was born in Darlington and was educated at the Darlington High School for Girls. Rayne started out at the Darlington Hippodrome as soubrette with Geordie comic Bobby Thompson in the Merry Magpies revue. When the show closed, she moved to London and soon found work in the Soho music clubs. Her first big break came when she was asked to join Dr Crock and the Crackpots' comedy show band.
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Dawn Kotoski (born 1966) is an American operatic soprano who has a substantial international opera career. She began her career at the Metropolitan Opera in New York City during the late 1980s singing lighter lyric soprano and soubrette roles. She joined the Vienna State Opera for the 1993-1994 season and since then her career has been centered mostly in Europe. She is the wife of tenor Neil Shicoff.
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Camilla Frydan Frydan's "Abschiedsbrief" (c.1920) Camilla Frydan, birthname Herzl, married name Friedmann, pseudonym Herzer, (1887–1949) was an Austrian pianist, soubrette singer, composer and song writer. She performed in operettas and revues in Vienna and Berlin before she was forced to emigrate to the United States in 1938. She settled in New York where she produced hundreds of melodious numbers which were published by her Empress Music Publishing.
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Jecks specialized in soubrette and boy roles, saying "I am never so really happy as when acting a lad." She made her first professional appearance on the London stage in 1873, in the show Kissi Kissi.John Parker, Who's Who in the Theatre (Pitman 1916): 270. She toured with her mother in the Comedy Opera Company in 1878 in several roles, in The Sorcerer, Trial by Jury, and Breaking the Spell.
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In 1911 Ferraris debuted at La Scala as Carolina in Cimarosa's Il matrimonio segreto. That same year she sang Sophie at La Scala in Italy's first production of Der Rosenkavalier, a role she later reprised at the Teatro Costanzi in Rome in 1914.Ines Maria Ferraris biography from Operissimo.com (In German) She remained at La Scala for over 20 years, singing numerous roles mostly from the lighter lyric and soubrette repertoire.
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Each song rendered by the jolly pair won for them an > encore. Mr Henderson is a real clever light comedian, while his partner, > Miss Henderson, is just as clever as a singing and talking soubrette. In > fact she is one of the first lady yodlers that we have had the pleasure of > hearing. Charles Anderson began touring with a vaudeville show in 1909, singing a combination of blues and yodeling.
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In 1885, while in the orchestra of the Grand Theatre, Lincke fell in love with the 16-year-old soubrette Anna Mueller, whom he married a year later. His wife later celebrated triumphs with the Berlin audience under the name Anna Müller- Lincke. In 1901 Lincke divorced his first wife, Anna. That same year he met a young actress who was known under the stage name Ellen Sousa.
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Anna Christina Maria Mardayn was the daughter of banker Oskar Maria Mardayn and his wife Henriette (née Fusek). After graduation she studied piano, dance and song at the Academy of Music and Dramatic Arts in Vienna. In 1920 she made her stage debut in the role of a diseased soubrette in The Dead Eyes by Eugen d'Albert. As Christl Mardayn she subsequently received a firm contract to the Vienna Volksoper .
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Some of the most well known sciantose were Anna Fougez, Gilda Mignonette, Olimpia D'Avigny, and Yvonne De Fleuriel. With the advent of cinema and television, many forms of popular theatrical shows faded, and so did the "sciantosa" archetype, whose traits were partially transferred to new roles such as the soubrette or the showgirl. The 1971 film La Sciantosa, by director Alfredo Giannetti, portrays a typical sciantosa (played by Anna Magnani).
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Kitty Loftus in 1893 Kitty Loftus (16 June 1867 - 17 March 1927) was an English dancer, singer and actor-manager. A leading soubrette of the 1890s and 1900s in comedies, burlesque, pantomime and musical plays, at the height of her career she performed with her Kitty Loftus Company. One critic praised her as "a tricky sprite and a fantastic elf." In her last years, she performed in variety in music halls and on tour.
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Malla Höök's father is unknown. She was a student of the Royal Swedish Ballet in 1825–26, a member of the travelling Berggren theater in 1826–28, debuted at the Royal Dramatic theater in 1828, and was active there from 1829 until 1842. She was a personal friend of her colleague Emilie Högqvist, and often mentioned as such. As a stage artist, Malla Höök was described as a dutiful worker and a gifted soubrette actress.
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She starred in The Great Lover (1916) in Chicago. and in The King (1917-1918). "She is a pretty soubrette," commented American critic Burns Mantle, "who both sings and plays violin – pleasantly but neither with surpassing skill." In 1941, after a divorce and a time in treatment for alcoholism, Betty Weingartner became a postulant at the Third Order Regular CSMV, a cloistered religious community at the Convent of St Thomas the Martyr in Oxford.
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Born in Munich, Beibl appeared as a child at the Bavarian State Opera, where she received training as a dancer. From 1930 to 1931 she was engaged as such at the Staatstheater am Gärtnerplatz, then for a year at the Bayerische Musikbühne, a travelling company. She then studied music and singing in her hometown. Her musical career began as an operetta soubrette at the Stadttheater Fürth, to which she belonged from 1934 to 1938.
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Wales was born at Stockton-on-Tees, England to a musical family. She showed an interest in singing early on and studied voice with Roy Henderson. She joined the Stockton Stage Society, where she played the soubrette lead in musical theatre productions such as The New Moon, The Maid of the Mountains, The Student Prince and The Vagabond King. Early in her career, Wales performed in oratorio and musical theatre in the north of England.
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Johanna Nurmimaa (born May 11, 1962) is a Finnish actor, voice actress and singer. Nurmimaa has acted in theatre and appeared in operas, mostly in soubrette and light lyric soprano roles. Her credits include Susanna in Le nozze di Figaro, Despina in Cosi fan tutte, and both Papagena and Pamina in The Magic Flute. She has also played "Paula Sievinen" in the soap opera Salatut elämät,MTV3 Internet >Salatut elämät >Henkilöt in 2004.
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Born in Verona, in 1956 Fabrizi made her acting debut in the revue Campione senza valore. The same year, she had her first leading role in the comedy play Carlo non farlo. In 1957 she entered the Miss Universe competition and appeared in the comedy play L'adorabile Giulio. After having been the soubrette of the 1959 musical Una storia in blue jeans she became the prima donna of the Erminio Macario's stage company.
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A lyric soprano is a type of operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C4) to "high D" (D6).Coffin (1960) This is the most common female singing voice.
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During surgery on April 4, doctors found cancer in her liver and pancreas. She died from cancer on June 9, 1949 in Vienna. British pianist Sir Clifford Curzon adopted her two sons. Cebotari had an extremely versatile voice, and her repertoire covered coloratura, soubrette, lyric and dramatic roles; for example, she sang both Countess Almaviva and Susanna in Le nozze di Figaro, Violetta in La traviata and Salome in the same season.
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Born Anna Menzio in Rome, the daughter of a groom, she studied violin at a young age. She debuted on stage in 1923, in the revue Osvaldo mio mi fai morire. She was the major diva of the Italian revue between 1930s and 1950s, until a new type of soubrette, more saucy and comical, surfaced. She retired in 1975 and died in 1994 of a heart attack at the age of 89.
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His wife was the famous soubrette Dora Keplinger. In 1907 he became partner of Andreas Amann, the director of the Carltheater, which he finally directed from 1908 till his death. Under his direction only operettas were performed at the Carltheater and of 19 works there were only 6 which were performed less than 100 times in a row. Among the better known works were Franz Lehár's Gipsy Love and Oskar Nedbal's Polenblut (see Polish Blood).
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Cathrine Marie Gielstrup née Morell (1755–1792) was a Danish stage actress. She was active at the Royal Danish Theatre in 1773–1792, and a member of the Det Dramatiske Selskab in 1777-79. She was the daughter of the musician Lorentz Morell of the Royal Chapell orchestra. She is counted as among the elite of her profession at the time, famed for her soubrette roles, particularly within the plays of Holberg.
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She played Cicely Courtneidge in the biographical musical of the actress Once More with Music in 1976, and appeared as a soubrette in Alan Clarke's 1982 production of Baal. She played the role of Jane Hampden on "The Awakening" episode of Doctor Who in 1984. She appeared in the West End musicals I and Albert and Anne of Green Gables. In 1971, James appeared with the Royal Shakespeare Company in The Merchant of Venice with Judi Dench.
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After finishing her studies, Nielsen made her professional opera debut as Laura in Karl Millöcker's Der Bettelstudent at the opera house in Gelsenkirchen in 1971. She spent the next four years of her career performing roles from the soubrette repertoire in opera houses throughout Germany and Switzerland. In 1975 Nielsen joined the roster of principal sopranos at the Frankfurt Opera where she sang regularly through 1980. In 1980 Nielsen decided to leave Frankfurt and become a freelance artist.
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Lisa Otto verstorben, Ehrenmitglied der Deutschen Oper Berlin She is best known for soubrette roles such as Blondchen, Susanna, Zerlina, Despina, and Papagena in Mozart's operas. Other notables roles included the First Lady, Marzelline, Annchen, Zerline, Echo, etc. She took part in the creation of Giselher Klebe's Alkmene and Hans Werner Henze's Der junge Lord. She made guest appearances at the Vienna State Opera, the Salzburg Festival, La Scala in Milan, the Paris Opera, and the Glyndebourne Festival Opera.
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Eugenie DHannetaire by Juste Chevillet Marie-Louis-Philippine-Eugénie Servandoni (6 January 1746, Brussels - 22 February 1816, Paris), stage name Eugénie D'Hannetaire, was a French actress. She was the daughter of the actor- director D'Hannetaire and the actress Marguerite Huet (stage name Mlle Eugénie). She made her debut at the Théâtre de la Monnaie aged 8, in child roles, then from 15 as a dancer. She is reported to have succeeded her mother in her roles as a soubrette.
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Jessie Bond Jessie Charlotte Bond (10 January 1853 – 17 June 1942) was an English singer and actress best known for creating the mezzo-soprano soubrette roles in the Gilbert and Sullivan comic operas. She spent twenty years on the stage, the bulk of them with the D'Oyly Carte Opera Company. Musical from an early age, Bond began a concert singing career in Liverpool by 1870. At the age of 17, she entered into a brief, unhappy marriage.
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Born in Braunau am Inn, Klösterer grew up in Mödling. After her school years she studied singing at the Wiener Musikakademie with Fritzi Lahr- Goldschmied, Alfred Jerger and Judith Hellwig, among others. She studied further with Helene Wildbrunn at the Meisterklasse of the Akademie from 1936 to 1938, and an intensive role study with the Mozart conductor Josef Krips. From 1945 to 1971 the soprano's "main importance was to be found in the field of coloratura soubrette".
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Wendels kept her promise. She remained with the Oper Frankfurt for 36 years, singing over 100 roles that ranged from soubrette to dramatic soprano. At the height of her career she would sometimes sing in up to 300 performances in a single season. She was particularly noted for her performances as Liu in Puccini's Turandot, Marie in Smetana's The Bartered Bride, Musetta in Puccini's La bohème, Micaela in Bizet's Carmen, and Gretel in Humperdinck's Hänsel und Gretel.
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Marietta Sacchi was an Italian operatic soprano who had an active career during the 1820s and 1830s. She mainly performed in comprimario and soubrette roles, and appeared at most of Italy's major opera houses and at His Majesty's Theatre in London. She notably created roles in the world premieres of operas by Vincenzo Bellini, Gaetano Donizetti, Simon Mayr, Giovanni Pacini, Luigi Ricci, and Giuseppe Verdi. She also excelled in parts from the operas of Gioachino Rossini.
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Bust by Theobald Stein, 1886 Phister grew up in poverty; on her father's death, she applied to become a chorister at the Royal Danish Theatre. The theatre, discerning her talent for acting, instead enrolled her to study as an actress, and she became the maid and student of Anna Nielsen in 1829. Phister made her debut in 1835. She took many parts as a soubrette, appearing also in vaudeville, breeches parts and, eventually, in roles depicting old women.
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Born in Komárom, Kopacsy was sent to Pest for her vocal training as a coloratura singer with Adele Passy-Cornet. She worked as an operetta soubrette in 1889 in Debrecen, from 1891-94 at the Volkstheater in Budapest, from 1894-96 at the Carltheater in Vienna. She gave guest performances in Berlin, America, Russia and Prague and was then active again in Vienna. She was married to and is buried at Hietzing Cemetery, at the side of her husband .
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Born in Avellino, the sister of stage actress Mariangela D'Abbraccio, she started her career in 1978, winning the Miss Teenager Italy pageant, then she appeared in a number of films, stage plays and television shows as an actress and soubrette. In 1979, she published a song with the pseudonym of Milly Mou, "Superman Supergalattico". In the late 1980s, she joined the agency Diva Futura and switched to porn. She was one of the first Italian actresses to star pregnant in a porn film.
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Betty Vio (1830) Elisabeth "Betty" Spitzeder-Vio (1806 or 1808–1872), also known as Betty Maurer, was an Italian-German opera singer (soubrette / soprano) and actress. She was the mother of Adele Spitzeder (1832–1895) from her first husband, Josef Spitzeder (1794/96–1832). Vio's birth date is unknown, with sources both mentioning 22 June 1806 and 22 June 1808. One contemporary source puts her age in 1812 as nine years old, meaning she would have been born in 1802 or 1803.
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Terence Rattigan's screenplay is a major departure from the simple plot of Hilton's novella. The time frame of the original story was advanced by several decades, now starting in the 1920s, continuing through the Second World War, and ending in the late 1960s. Also, it does not show Chipping's first arrival at the Brookfield School, but starts with him already an established member of the teaching staff. Additionally, the character of Katherine Bridges has been transformed into a music hall soubrette.
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Early in her career in the 1950s, Gascoine had been soubrette in a UK tour of the Crazy Gang Show. In 1956, she was a chorus dancer in the Christmas season of The Adventures of Davy Crockett starring Hermione Baddeley in the Olympia Theatre in Dublin. Gascoine also worked alongside Tony Award winning Victor Spinetti in intimate revue in the Irving Theatre in London. By 1959, Gascoine had taken over from Millicent Martin in a UK tour of Expresso Bongo.
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Lisa Otto (14 November 1919 – 18 September 2013) was a German operatic soprano, particularly associated with soubrette and light coloratura roles. Born in Dresden, she studied there at the Musikhochschule with Susanne Steinmetz-Prée. She made her debut, as Sophie in Der Rosenkavalier, in 1941 at the Silesian Opera in Beuthen, where she remained until 1944. She then sang in Nuremberg (1944–45), Dresden (1945–51), and joined the Berlin State Opera in 1951, where she was to remain until 1985.
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Lina Abarbanell (January 3, 1879Some sources say her birth year was 1880. – January 6, 1963) was a German-American soprano singer who performed in grand and light opera and musical comedy. She made her debut at sixteen at the Neues Theatre, Berlin and was first introduced to American theatergoers in 1905 as the soubrette in the Josef Strauss operetta Frühlingsluft (Spring Air). Abarbanell made opera history later that year as Hänsel in The Met's debut production of Engelbert Humperdinck's Hänsel und Gretel.
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Her group included Billy Young, Alfreda Thomas, Mary Jackson as a soubrette, Earl Frazier on piano, Amanzie Richardson as a comedian and dancer, Freddy Crump on drums, Jake Frazier on trombone, Gus Aiken as a soloist on coronet, Harry Smith on coronet and as a dancer, and Ed Lankford on saxophone and as manager. Her group included several influential acts. She featured in advertisements for Exelento Quinine Pomade (a pomade). Count Basie toured with her group in the mid-1920s.
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In 1907, she was engaged as a soubrette by the Raimund Theater and went on to work at the Neue Wiener Bühne and the Fledermaus cabaret. It was at the Fledermaus that she met Egon Friedell and his fellow performers, including his brother Oskar Friedmann, a librettist and journalist, whom she married on 15 July 1910 in the Evangelical Church in central Vienna. She had moved away from her Jewish ancestry, adopting the Christian faith. Their son Hans was born the following year.
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Born in Potsdam near Berlin Walter became a regular member of the cast at the Hamburg Stadttheater in 1923. After a season at the Thalia Theater in Hamburg she moved to Berlin in 1925 after being contracted by the Deutsches Künstlertheater Berlin (German Artist Theatre Berlin), one of the several Berlin theatres run by successful Jewish theatrical producer . Her usual characters were the ingenue and the soubrette. The following year (1926) her film career started when she was discovered by Reinhold Schünzel.
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Born in Milan, Macelloni started acting as a child, on radio dramas and on stage, with the theatrical company "Compagnia di Prosa". Between the second half of the 1950s and the 1960s she appeared in a number of films, as well as on stage and on television, where she also worked as a presenter and a soubrette. After a hiatus of several decades, she resumed her activities in the 2000s, appearing in some films and the TV-series Butta la luna.
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Hill was born in London and won a scholarship to the Guildhall School of Music and Drama. She started her career as a soprano in 1939, singing at the Sadler's Wells Opera (later English National Opera) in London; soubrette and lyric soprano roles such as Despina in Mozart's opera Così fan tutte. For the Glyndebourne Festival she sang Barbarina in Mozart's The Marriage of Figaro. In 1948 she sang Lucy in the world premiere of Benjamin Britten's adaptation of The Beggar's Opera.
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Playing Gitele in Zalmen Libin's Gebrokhene hertser (Broken Hearts), she came to the attention of Regina Prager's husband, a theater manager, who hired her for his company in New York. She played several years as a soubrette in vaudeville houses and became successful enough to be hired to replace Bessie Thomashevsky in Edelstein's People's Theater where she played opposite David Kessler in Mish Mash. She then abandoned "legitimate theater" and went back to vaudeville (in English as well as Yiddish).
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Born in Lucerne, Anhorn studied from 1975 to 1980 at the Musikhochschule Zurich with Sylvia Gähwiller and Carol Smith. From 1980 to 1982, she received her diploma in the opera studio of the Bavarian State Opera Munich lessons from Brigitte Fassbaender. From 1982 to 1988, she was a soloist at the Bavarian State Opera, first as coloratura soprano, especially as soubrette. From 1985 she received wide acclaim from Leonore Kirschstein in Augsburg and from 1987 she performed mainly as a mezzo-soprano.
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Guerbet's first car, the electric prototype of 1974, was identified as the Mini 1, and also as the Soubrette The Midinette followed in 1975, and by 1979 had been put into production. It was powered by a 1.2 kW electric motor. Top speed was given as 50 km/h (31 mph), and the range as 60 km (37 miles). The car offered space for one and the plastic/polyester body was accessed through a sliding door on the car's left side.
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But they can't do it without the consent of the brothers Cassandro and Polidoro. The two brothers are comfortable with their status quo – they are confirmed misogynists, and unwilling to part with their sister. The wily soubrette Ninetta devises a plan to outwit the brothers, with the collaboration of Rosina, Fracasso's sister, who happens to be "visiting". Rosina (prima donna) poses as a naïve innocent who is going to make both brothers fall in love with her until they agree to the marriages.
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Valerie Muriel Jellay (25 September 1927 – 6 May 2017) was an Australian vaudevillian, actress, soubrette, singer, dancer and author. At the time of her death, she was the widow of fellow Australian vaudevillian, actor and comedian Maurie Fields, together they were in general considered to be a duo act in the entertainment industry. She was the mother of comedian and actor Marty Fields. Her early career had been in vaudeville and on stage, before becoming a staple on the small screen in 1957.
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She met actor/playwright Eduardo De Filippo in 1947 while being a soubrette in the revue company "Teatro dei Fiorentini", and they were married for three years from 1956 to 1959. Previous to their marriage, they had two children together, the actor Luca De Filippo, and a daughter Luisa "Luisella" De Filippo. Luisella died at the age of 10 from a cerebral hemorrhage in 1960. During their relationship, Prandi served as De Filippo's secretary and also appeared in several of his stage comedies.
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This marriage does not seem to have ended her relationship with Molière. She remained with Molière until her death on 17 February 1672. Madeleine had an illegitimate daughter (1638) by an Italian count, and her conduct on her early travels had not been exemplary, but whatever her private relations with Molière may have been, however acrimonious and violent her temper, she and her family remained faithful to his fortunes. She was a tall, handsome blonde, and an excellent actress, particularly in soubrette parts.
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Ein Leben im Bann der Magie. Vitalis Verlag, Prag 2009, , p. 16f. She received her first musical education from her mother, who by this time was working as a soubrette in Breslau (as Wrocław was known at that time). When she was 17 she moved to Vienna to receive further lessons in singing and stagecraft. Here, according to a biographical article in the Illustrirte Zeitung (newspaper), she had to "battle with many difficulties during the [brief but bloody] October uprising of 1848".
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American Red Cross - Classes in Red Cross Work - Dora de Phillippe is seated at right, remaking kid gloves into vests for soldiers; NARA - 20802078 Dora de Phillippe first performed in the United States in 1902,Johnson Briscoe, The actors' birthday book (Moffatt, Yard and Company 1908): 235. and was already "an accomplished lieder singer", playing soubrette parts in San Francisco, by 1904."Pianist and Singer Max Heinrich Also has Creative Skill" The San Francisco Call (September 4, 1904): 19. via Newspapers.
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Born in Montefiascone, Steni started her career as a child actress in the stage company led by Wanda Osiris. She debuted as a soubrette in 1942, in the revue Orlando Curioso. In the 1950s Steni started a long collaboration in radio, on stage and later on television with Elio Pandolfi. They were both part of the company Teatro Comico Musicale di Radio Roma, and in the 1960s they got a large success with a series of satirical musical comedies written by Dino Verde, particularly Scanzonatissimo and Urgentissimo.
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She made her debut in Magdeburg in 1844, appeared in Leipzig in 1848, and performed in Berlin from 1850 - 1858, where she specialised in soubrette roles. In 1858, during a guest appearance in Budapest, she was seen by Johann Nestroy, who brought her to Vienna. There she appeared at the Carltheater in operettas, especially in the works of Jacques Offenbach and Franz von Suppé, until 1871. Anna Grobecker was the first operetta singer to be invited to perform for the Imperial Court in Vienna, in 1861.
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Born in Bratislava, Czechoslovakia to Hungarian parents, Házy grew up in her parents' native country and was a Hungarian citizen. She studied singing at the Franz Liszt Academy of Music with Géza László. She began her career as a member of the Hungarian Radio Choir before making her professional opera debut in 1951 as Oscar in Giuseppe Verdi's Un ballo in maschera at the Hungarian State Opera House. She remained committed to that house for many years where she excelled in soubrette and coloratura soprano roles.
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The Colombina (also known as Columbine and as a Colombino) is a half-mask, only covering the wearer's eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals, and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The Colombina mask is named after a stock character in the Commedia dell'arte: Colombina was a maidservant and soubrette who was an adored part of the Italian theatre for generations.
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This was followed by "Shenandoah" at the Academy of Music, where she characterized Junie Buckthome, the General's daughter, until in the summer of 1901 when she rejoined the Castle Square Opera Company at the Studebaker Theatre in Chicago. She sang in Chicago two seasons. Quinlan sang in over 125 operas, and played all the principal soubrette parts in the same. She made her first distinct success as Broni Slava in the "Beggar Student," and became an especial favorite as Pitti Sing in The Mikado while in Chicago.
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She made her début at the Comédie-Française on 14 June 1718 and was accepted into the company in December 1718, becoming the sixth member of the Quinault family to be admitted. She gave her first performance in the title role of Racine's Phèdre and five days later played Chimène in Pierre Corneille's Le Cid. The choices are rather surprising, because she became famous in soubrette and comic character roles. In 1727 Jeanne Quinault created the role of Céliante in Le Philosophe marié by Philippe Néricault Destouches.
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A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.
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She returned to the Croatian National Opera in 1970 where she remained for the rest of her career. Her repertoire mainly consisted of soubrette and lyric coloratura soprano roles, including Adina in Gaetano Donizetti's L'elisir d'amore, Nedda in Ruggero Leoncavallo's Pagliacci, Norina in Donizetti's Don Pasquale, Oscar in Giuseppe Verdi's Un ballo in maschera, Susanna in Wolfgang Amadeus Mozart's The Marriage of Figaro, Violetta in Verdi's La Traviata, and Zerlina in Mozart's Don Giovanni. She is married to Dr. Ivo Vidović, director of home health in Runjanin street in Zagreb.
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Born in Rome, Del Frate started her career as a model and took part in several beauty contests. In 1957, she successfully debuted as a singer winning the Festival di Napoli with the song "Malinconico autunno". In 1958, Del Frate entered the competition at the Sanremo Music Festival with the songs "Quando il cuore" and "Ho disegnato un cuore". Shortly later, she was chosen by Erminio Macario as primadonna in the revue Chiamate Arturo 777; from then, Del Frate started a successful career as soubrette, actress, and television presenter.
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Having learnt dance moves from his fiancée, soubrette Winnie Trevail (Winifred Constance Stanley Trevail) which he translated to the wire, Con was ready to move overseas to further his career. At his first performances in South Africa he was billed as Australian, but in April 1924 he adopted the Spanish toreador persona he was to employ for the greatest part of his subsequent career. In September 1924 he appeared at the New York Hippodrome Theatre and was soon noticed and engaged by Ringling Bros. and Barnum & Bailey Circus, the largest in the country.
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She was born in Riga, Livonia, Russian Empire as the daughter of an actor, Wilhelm Friedrich Seebach (1798–1863). After appearing first at Nuremberg as Julie in Kean, she played soubrette parts at Lübeck, Danzig and Cassel. In 1852 she achieved her first great success at the Thaliatheater in Hamburg as Gretchen in Goethe's Faust, and she remained there until 1854, when she appeared in Vienna. She then played in Munich, establishing her reputation as a tragic actress with the lead roles in Jane Eyre and Adriana Lecouvreur.
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Sir Rudolf Bing called her a "superb soubrette" and implied that she was the world's best. Her opera roles also included Rosina in The Barber of Seville and Gilda in Rigoletto. Her husband Robert C. Schuler (1917–2007) conceived and produced the ABC-TV primetime variety series The Patrice Munsel Show, which starred his wife, and was broadcast in the 1957–1958 season. Munsel appeared on many other TV shows during her career, including the role of Marietta (Countess d'Altena) in the January 15, 1955 live telecast of the operetta Naughty Marietta.
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Maria Reining (August 7, 1903 in Vienna - March 11, 1991 in Deggendorf) was an Austrian soprano, honored with the title Kammersängerin. At first, Reining worked as in a Viennese bank, and didn't commence her singing career until the age of 28, when she started to sing at the Vienna State Opera, mainly in soubrette roles. Two years later, she moved to Darmstadt, then to the Munich State Opera, where she made her debut as Elsa in Lohengrin, under Hans Knappertsbusch. In 1937 she followed Knappertsbusch to the Vienna State Opera, where she sang Elsa again.
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Born in Augsburg, Becker- Egner began her singing career at the Theater Augsburg, where she was engaged from 1950 to 1954 as a member of the chorus and from 1954 to 1956 as a soloist. Werner Egk discovered the 23-year-old soprano and wanted her for the role of Gretel in his opera Die Zaubergeige. From 1956 to 1960 Becker-Egner was a permanent member of the ensemble at Landestheater Coburg. There she initially took on soubrette roles, later lyrical roles such as Pamina in The Magic Flute or Elsa in Lohengrin.
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In 1920s Britain, Arthur Chipping is an established member of the teaching staff at the Brookfield School. He is a stodgy teacher of Latin, disliked by his pupils, who find him boring and call him "Ditchy," short for "dull as ditch-water." Chips meets Katherine Bridges, a music hall soubrette, in the dining room of the Savoy Hotel in London on the eve of his summer holiday. Dissatisfied with her career and depressed by her romantic entanglements, she sets sail on a Mediterranean cruise and is reunited with Chips by chance in Pompeii.
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Le Roy retired in 1756, but after an absence of five years, during which she married Jean Claude Gilles Colson ("Bellecour"), she reappeared as Madame Bellecour, and continued her successes in soubrette parts in the plays of Molière and Jean-François Regnard. She retired finally at the age of sixty, but troublous times had put an end to the pension which she received from Louis XVI and from the theatre, and she died in abject poverty. There is a charming portrait of her owned by the Théâtre Français.
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In the mid-1990s, Blackwell moved away from the soubrette repertoire and began to sing almost exclusively lyric coloratura roles. Instrumental in boosting her profile within this repertoire was Seattle Opera under the direction of Speight Jenkins. Blackwell first worked with the company in 1990 in the role of Marie in La fille du régiment. Impressed with her voice, the company rehired Blackwell periodically throughout the 1990s and 2000s giving her opportunities to sing new repertoire such as the title roles in Donizetti's Lucia di Lammermoor and Delibes' Lakmé.
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Born in Stockholm, Wilhelmina Söhling was the daughter of the music teacher and organist Wilhelm Söhrling (1822–1901) and Marie Elise Vretman. After being brought up in a musical family, she studied solo singing from 1862–65 at the Swedish Conservatory under Julius Günther, Isak Berg and Fredrika Stenhammar. She made her début at the Royal Theatre on 18 October 1867 as Jeannette in Nicolas Isouard's comic opera Joconde. In the spring of 1868, she was engaged by the Royal Theatre, playing further soubrette roles in comic operas including Vattendragaren and Les rendez-vous bourgeois.
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In 1946, De Mola participated to the Miss Italia beauty contest, getting the title of "Miss Sorriso D'Italia". After working on stage with the companies led by Erminio Macario, Ugo Tognazzi and Mario Carotenuto, she successfully toured South America with a program of Italian music. From 1955 onwards, she also became a central figure in the early Italian television, as a hostess and soubrette in a number of variety shows. De Mola and Rascel obtained the Roman Rota's annulment of marriage in 1963, and De Mola remarried in 1971.
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According to Gabor, she was discovered by operatic tenor Richard Tauber on a trip to Vienna in 1934, following her time as a student at a Swiss boarding school. Tauber invited Gabor to sing the soubrette role in his new operetta, Der singende Traum (The Singing Dream), at the Theater an der Wien. This would mark her first stage appearance. In 1936, she was crowned Miss Hungary. Dancing with director Nicholas Ray (1953) In 1944, she co-wrote a novel with writer Victoria Wolf entitled Every Man For Himself.
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D and a performance the following year at the city's Americus Club that led to an offer to join the Boston Museum stock company. That November she appeared at the Boston Museum in the original American production of Gilbert and Sullivan'sNote: though without their permission H.M.S. Pinafore and, over the following few seasons, rose to be their leading soubrette. Martinot left The Boston Museum after actor-manager Dion Boucicault offered her a substantial raise to join him in England and her request for a modest salary adjustment was rejected by the Museum's management.
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Kingsland was a stage actress, mostly on the San Francisco stage and touring with the Ferris Hartman Company on the West Coast, in soubrette roles. Her appearances included roles in Wang (1908), The Toymaker (1908), The King Maker (1908), The Girl from Paris (1909), A Chinese Honeymoon (1909), The Tenderfoot (1909), It Happened in Nordland (1909), and The Mayor of Tokio (1909). Early in her career, Kingsland toured in New Zealand and Australia with the Josephine Stanton Company. She performed vaudeville acts with dancer Genevieve "Ginger" Love, and with Christine Neilson.
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Dawn was born in Port Melbourne, Victoria, the only daughter of theatrical agent William Edward Evans and Zilla Emma Edith Odling, a native of Thailand. Both her parents were vaudeville performers, known as "Billy and Weatherly", and she toured with them, appearing on stage from infancy and doing Shirley Temple impersonations. At 12 Dawn was one of the Tivoli Gang of juvenile stars, performing in the Crazy Show at the Tivoli Theatre. She also began playing soubrette on stage, in shows such as the Naughty Nineties at the Tivoli.
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This run, the second longest of any musical up to that time, would be beaten three years later by Edwardes' San Toy, which was written by Jones, Greenbank and Monckton. The cast included Marie Tempest in the role of O Mimosa San and Letty Lind as the dancing soubrette Molly Seamore. C. Hayden Coffin played Lieutenant Reginald Fairfax, Huntley Wright played Wun-Hi, and later Rutland Barrington and Scott Russell joined the cast. Direction was by J. A. E. Malone, choreography by Willie Warde and costumes by Percy Anderson.
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The Times wrote that the score of the piece was mostly pervaded "with a kind of decorous, very accomplished dulness, which makes us sigh for a good catchy tune, however trivial." The paper singled out the principal comedian, Graves, and the soubrette, Courtneidge, for praise, and complained that Pounds had too little singing or dancing and was "all but wasted"."Shaftesbury Theatre", The Times, 13 May 1912, p. 12 The Manchester Guardian thought better of the music, and considered it "somewhat beyond the reach of most of the artists and the orchestra".
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298 accessed June 27, 2012Little Annie Lewis Dead – The Evening Times (Washington D. C.); October 5, 1896; pg. 1 accessed June 27, 2012 By sixteen Lewis was touring the country with her own company as the soubrette in Lincoln A. Fisher's Little Trump,Little Trump Advertisement - Fort Wayne Daily Gazette; October 17, 1885; pg. 5Fisher, A. Lincoln-Little Trump; or, Rocky Mountain Diamond: A Drama In Three Acts accessed June 27, 2012 and the following year with Charles Verner in Shamus O’Brien, a romantic comedy from the poem by Frederick Maeder and Thomas B. Macdonough.
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In 1939 she joined the opera house in Aussig (now Usti nad Labem) where she became popular as a performer in operettas. She made her professional opera debut at that house as Hannerl in Heinrich Berté's arrangement of Franz Schubert's Das Dreimäderlhaus. In 1940 Schörg went to the Komische Oper Berlin where she was admired in the soubrette and operetta repertoire during the Second World War. With that company she sang in the world premieres of Ludwig Schmidseder's Frauen im Metropol (1940, Fritzi) and Friedrich Schröder's Friedrich Schröder (1941).
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She is sometimes the lover of Harlequin, but not always. She may be a flirtatious and impudent character, indeed a soubrette. In the verismo opera Pagliacci by Ruggero Leoncavallo, the head of the troupe's wife, Nedda, playing as Colombine, cheats on her husband, Canio, playing as Pagliaccio, both onstage with Harlequin and offstage with Silvio. Although Colombine is one name associated with the female servant character archetype, other names under which the same character is played in Commedia dell'arte performances include Franceschina, Smeraldina, Oliva, Nespola, Spinetta Ricciolina, and Corallina Diamantina.
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' As we all know, Albanese's art is capable of the widest range of > effects from the tragic to the comedic, from dramatic repertoire to the > lyrical and even soubrette: and for anyone fortunate enough to have heard > her rendition of operetta pieces, she leaves no doubt in the mind that she > was born to the operetta form as well as to the rest.Vecchio, Alfredo, A > Tribute to Mme. Albanese To all of her work, Albanese brought passion and commitment, with her rich soprano voice, equalized throughout its range, thrilling in its climaxes. However, despite her repeated performances, she never fell into routine.
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That distinctively girlish vocal quality inclined Tattermuschová to the soubrette characters in Mozart operas, notably Papagena in The Magic Flute, Zerlina in Don Giovanni and Susanna in The Marriage of Figaro. She also took on the coloratura roles of Rosina in Rossini's The Barber of Seville and Gilda in Verdi's Rigoletto. Tattermuschová’s singular contribution to opera was her body of work singing the Czech repertoire on the national and international stage as well as on recordings. She enjoyed one of her greatest triumphs in 1970 in the title role of Vixen Sharp-Ears from Janáček’s The Cunning Little Vixen, which she subsequently recorded.
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Jane Hading (left) and Jacques Damala in the play Le Maître de forges, circa 1883 She was born in Marseille, where her father was an actor at the Gymnase. She has said that her first appearance on the stage came when she was three years old. She was trained at the local Conservatoire and was engaged in 1873 for the theatre at Algiers, and afterwards for the Khedivial theatre at Cairo, where she played, in turn, coquette, soubrette and ingenue parts. Expectations had been raised by her voice, and when she returned to Marseille she sang in operetta, besides acting in Ruy Blas.
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A notable soubrette at the Opéra-Comique between 1811 and 1835, she continued performing until 1845, though her voice had started to fail her in the later years. She performed in the world premieres of numerous opéras comiques, including Lady Pamela in Auber's Fra Diavolo in 1830 and Ritta in Hérold's Zampa in 1831.Zampa libretto, 1831 at Google Books. She played the role of Gertrude in Le maître de chapelle, by Ferdinando Paer, 1821; Madame Barneck in L'ambassadrice, by Daniel Auber, 1836; and the Marquise of Berkenfield in La fille du régiment by Gaetano Donizetti, 1840.
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Jarno's greatest successes were Die Försterchristl (1907) and Das Musikantenmädel (1910). His operettas Das Farmermädchen and Jungfer Sonnenschein were well received, whereas Die Marine-Gustl, Mein Annerl, Der Goldfisch and Die Csikosbaroness could muster only passing interest. Much of the success of his works was due to the distinguished presentation of their title roles by his brother's (Joseph Jarno) wife, the highly popular actress and soubrette Hansi Niese. He loved to introduce historically well known persons into his operettas; Kaiser Joseph II in Die Försterchristl, Prince Eugene of Savoy in Jungfer Sonnenschein, Joseph Haydn in Das Musikantenmädel.
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Raina begins to find Sergius both foolhardy and tiresome, but she hides it. Sergius also finds Raina's romantic ideals tiresome, and flirts with Raina's insolent servant girl Louka (a soubrette role), who is engaged to Nicola, the Petkoffs' manservant. Bluntschli unexpectedly returns so that he can give back the old coat, but also so that he can see Raina. Raina and Catherine are shocked, especially when Major Petkoff and Sergius reveal that they have met Bluntschli before and invite him to stay for lunch (and to help them figure out how to send the troops home).
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Born in Buenos Aires as Alba Fossati, daughter of two Italian emigrants, Arnova studied piano at the Conservatory and enrolled in the university at the medical faculty. She became the principal classical dancer of the Teatro Colón in Buenos Aires and changed her surname first to Ars Nova and then to Arnova. She left Argentina in 1948, for a six months stage tour, and eventually remained in Rome, where she worked first in theater as a classical dancer and as a revue and avanspettacolo soubrette. She began acting in films in 1949, though usually in minor roles.
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591, which describes her as an "excellent contralto". She joined the D'Oyly Carte Opera Company in October 1914 after Rupert D'Oyly Carte saw her performance at the Haymarket and "was much struck by her vivacity".Taylor, Roy. "Nellie Briercliffe", Memories of the D'Oyly Carte website, accessed 1 January 2010 She was cast immediately in the principal soubrette roles of the Gilbert and Sullivan operas as follows: Hebe in H.M.S. Pinafore, Edith in The Pirates of Penzance, Angela in Patience, Iolanthe in Iolanthe, Melissa in Princess Ida, Pitti-Sing in The Mikado, Phoebe in The Yeomen of the Guard and Tessa in The Gondoliers.
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Trixie Friganza (born Delia O'Callaghan; November 29, 1870 – February 27, 1955) was an American actress. She began her career as an operetta soubrette, working her way from the chorus to starring in musical comedies to having her own feature act on the vaudeville circuit. She transitioned to film in the early 1920s mostly playing small characters that were quirky and comedic and retired from the stage in 1940 due to health concerns. She spent her last years teaching drama to young women in a convent school and when she died she left everything to the convent.
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Her husband distinguished himself both as actor and playwright, and his Farisien (1682) gave Mme Gurin one of her greatest successes. Her brother, the actor Nicolas Desmares (c. 1650-1714), began as a member of a subsidized company at Copenhagen, but by her influence he came to Paris and was received in 1685 sans debut, the first time such an honor had been accorded at the Comedie Francaise, where he became famous for peasant parts. His daughter, to whom Christian V. and his queen stood sponsors, Christine Antoinette Charlotte Desmares (1682-1753), was a fine actress in both tragedy and soubrette parts.
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For Madsen began a twelve-year lasting great career in the Third Reich as coloratura-soubrette. She participated in the premiere of Werner Egk's Die Zaubergeige on 22 May 1935 as Gretl and in the premiere of Carl Orff's Carmina Burana on 8 June 1937 as a soloist. Guest performances led Madsen to the Berlin State Opera, Wroclaw, Semperoper Dresden, Hamburg State Opera, Bavarian State Opera Munich and Staatstheater Stuttgart, abroad in the Gran Teatre del Liceu Barcelona, Belgrade, Bologna and Paris Opera.on OPERISSIMO After the Second World War Madsen was engaged by Radio Frankfurt (later Hessischer Rundfunk) for archive and studio productions.
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Marie Cathrine Preisler née Devegge (1761–1797), was a Danish stage actress. She was active at the Royal Danish Theatre in 1778-97, and a member of the Det Dramatiske Selskab in 1777-79. She is counted as among the elite of her profession, enjoyed great popularity and was famed for her heroine Soubrette roles. She married Joachim Daniel Preisler in 1779, which attracted great attention at the time because he was a member of the upper class and joined her profession after their marriage, highly unusual in an age when the stage professions where of low social status.
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She sang Cherubino in 'Le nozze di Figaro', Lola in Cavalleria rusticana, and Sieglinde in Die Walküre. She starred in the title role of Franz von Suppé's operetta Die schöne Galathee around 100 times. In 1921, the soubrette moved to the Raimund Theater and in 1922 went to the Charles Theatre where she sang in premiere performances of operettas such as 'Die Bajadere' by Emmerich Kálmán, The Dragonfly Dance by Franz Lehár and The Lady in Ermine by Jean Gilbert. She toured to the Art Theatre in Berlin, the Corso Theatre, Zurich and the State Theatre in Hanover.
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As Edwardes grew older, she was no longer suited to soubrette parts and did not win other roles. "Thus Paula Edwardes, when her youth faded, faded simultaneously from view," explained critic George Jean Nathan; he told of an encounter with the older Edwardes, dressed girlishly and claiming to be her own teenaged niece, in hopes of reclaiming the fame of her earlier days.George Jean Nathan, The Theatre, the Drama, the Girls, A. A. Knopf (1921): 356–357. In 1926, a police officer found Edwardes, holding a crucifix and praying in the rain, on a street corner in New York City.
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Maginn was an artists' model, "said to be the most pictured young woman of her age in America" in 1901, and a vaudeville performer, usually in soubrette roles, in the Weber & Fields shows in New York. In 1901 she shared the bill with David Warfield, Fay Templeton, DeWolf Hopper and Lillian Russell in Fiddle-Dee-Dee at the Chicago Opera House. She was a featured dancer in Klaw and Erlanger's ill-fated production of Mr. Blue Beard, when it opened at Chicago's Iroquois Theatre in 1903. She and the rest of the cast survived the massive and fatal theatre fire during the show's run.
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Eva Grimaldi (born 7 September 1961) is an Italian actress and model. Eva Grimaldi in 2009 Born in Nogarole Rocca, Grimaldi debuted as a nude model in Playmen and as a soubrette in the Antonio Ricci's TV-show Drive In. She made her film debut in Federico Fellini's Intervista, and starred in Giuliano Carnimeo's cult horror film Ratman and Marina Ripa Di Meana's Cattive ragazze. From then, she appeared in numerous films and TV-series, including works by Mario Monicelli, Dino Risi, Damiano Damiani, Claude Chabrol, Jean-Marie Poiré and John Irvin. She was also very active on stage, working mainly with Pier Francesco Pingitore.
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The Netherlands was flooded by one million Belgian refugees, that faced boredom and searched for light entertainment. Longing to forget the tensions of time, entertainment life flourished. The cafes, dance halls and cinemas were full of rewards with that extra clientele. Soon, numerous African-American artists who found shelter in the tiny neutral country such as, Elmer Spyglass, Arabella Fields, Josephine Morcashani, Mamie & Holman and Miss Olita were performing around Dutch theatrical circuits. In October 1916, Ollie participated in the two week International Soubrette Contest at the Palace Concert Hall (October 1–15) alongside popular African- American concert singer, Arabella Fields, whom had fled from Germany with her husband/manager.
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AnNa R. (2006) Rosenstolz continued to perform live following the initial concerts and was soon discovered by record producer Tom Müller, who had previously worked with German singer Nina Hagen. Recording began on the band's debut album, Soubrette werd' ich nie, which was released towards the end of 1992 by indie label Pool. However, the album received little attention and was not a commercial success. Müller was not concerned whether the album would be a hit or not and provided AnNa R. and Plate with temporary financial support so that they could devote more time to writing new songs for the next Rosenstolz album and to performing live.
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189 She began her career singing mostly soubrette roles, such as Blonde, Susanna and Despina; but she gradually expanded to light coloratura parts, such as Adina, Norina, Marie, Oscar, Nanetta and Zerbinetta, later adding more lyrical roles such as Pamina, Juliette and Manon. She also excelled in operas by Purcell, Handel, and Haydn, in which she can be heard on several recordings. From 1969 to 1980 she was married to the conductor Steuart Bedford, with whom she recorded the role of Alison in Holst's The Wandering Scholar. A singer with a pure and silvery voice, secure coloratura technique and delightful stage presence, Burrowes retired from the stage in 1982.
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Augustine Brohan Joséphine-Félicité-Augustine Brohan (1824-1893) was a French actress. The eldest daughter of Augustine Susanne Brohan and the sister of Émilie Madeleine Brohan, she was admitted to the Conservatoire when very young, twice taking the second prize for comedy. The soubrette part, entrusted for more than 150 years at the Comédie-Française to a succession of artists of the first rank, was at the moment without a representative, and Mlle Augustine Brohan made her debut there on May 19, 1841, as Dorine in Tartuffe, and Lise in Rivaux deux-mêmes. She was immediately admitted , and at the end of eighteen months unanimously elected .
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She occasionally made guest appearances on such shows as What's My Line?, The Mike Wallace Interview, and Masquerade Party (disguised as John L. Lewis) and during the 1960s, she appeared on Hollywood Squares, The Mike Douglas Show, and other shows. Dagmar was one of a number of performers who posed for pictures in the Patrick Dennis novel First Lady, published in 1965, as the soubrette and Presidential courtesan Gladys Goldfoil. In 1950s auto design, the slang term "Dagmar bumper" emerged to describe dual chrome pointed projections on the front ends of Cadillacs, Buicks, Packards, and other U.S. automobiles, an allusion to the actress' physique and trademark attire.
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In 1908, she performed as a soubrette in the comedy The Trouper. She then joined the cast of Harry Bulgur’s The Flirting Princess, a musical revue, in 1910 and toured with it off and on throughout San Francisco, Chicago, Washington, and Rhode Island. The same year, she performed in the chorus of Florenz Ziegfeld’s The Girl in the Kimona in Chicago. She received good reviews for her performance, with Variety singling her out for praise. In 1915, Fuller was introduced to Mack Sennett by Charlie Murray and joined Mack Sennett’s Keystone as an extra, with Sennett's often casting her as a harridan or victim in shorts.
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Nellie Briercliffe (24 April 1889 - 12 December 1966) was an English singer and actress best known for her performances in the mezzo-soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company. After playing in the provinces early in her career, Briercliffe joined the D'Oyly Carte in 1914, touring for over three years in the Gilbert and Sullivan soubrette roles. She left the company to play in London's the West End, but rejoined D'Oyly Carte for their 1919-20 London season. After this, she played on the West End in musicals and comic plays, with a three-year hiatus from 1924 to 1927, until she finally retired in 1931.
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Emil Artin was born in Vienna to parents Emma Maria, née Laura (stage name Clarus), a soubrette on the operetta stages of Austria and Germany, and Emil Hadochadus Maria Artin, Austrian-born of mixed Austrian and Armenian descent.Armenia honors mathematician Dmitry Mirimanoff Ben Yandell, The honors class: Hilbert’s problems and their solvers, A K Peters, Ltd., 2002, , 9781568812168Notices of the AMS. Vol. 49, # 4, April 2002, pp. 469–470 Several documents, including Emil's birth certificate, list the father's occupation as “opera singer” though others list it as “art dealer.” It seems at least plausible that he and Emma had met as colleagues in the theater.
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She helped her mistress with her appearance, including make-up, hairdressing, clothing, jewellery, and shoes, and sometimes served as confidante. A maid of French nationality was considered likely to be more expert in current fashions, and was also able to apply her knowledge of the French language when travelling in Europe. Erotic fantasies revolving around young French women later led to the appearance of French maids as desirable and stereotypical soubrette characters in burlesque dramas and bedroom farces. The term French maid is now often applied to an eroticised and strongly modified style of servant's dress that evolved from typical housemaid's black-and-white afternoon uniforms of 19th-century France, despite a housemaid being junior to a lady’s maid.
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Rolandi landed a contract with the New York City Opera in 1975, before graduating from the Curtis Institute that same year. Her operatic debut, at NYCO, was as Olympia in Les contes d'Hoffmann and as Zerbinetta in Ariadne auf Naxos, for both of which she received critical acclaim. While in New York, Rolandi studied singing with Ellen Faull. Appearing regularly with the City Opera since her debut, Rolandi moved beyond soubrette roles in operettas, and was a leading coloratura soprano at the NYCO for the next 15 years, singing more than 30 operatic roles, including I puritani, La traviata, La fille du régiment, Rigoletto, Lucia di Lammermoor, The Cunning Little Vixen, Lakmé, and Giulio Cesare.
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Soprano Harolyn Blackwell performs in the East Room of the White House during a dinner in honor of the Dance Theatre of Harlem on February 6, 2006. President George W. Bush and First Lady Laura Bush are in attendance. Harolyn Blackwell (born November 23, 1955) is an American lyric coloratura soprano who has performed in many of the world's finest opera houses, concert halls, and theaters in operas, oratorios, recitals, and Broadway musicals. Initially known for her work within musical theater during the early 1980s, Blackwell moved into the field of opera and by 1987 had established herself as an artist within the soubrette repertoire in many major opera houses both in the United States and in Europe.
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Born Margret Doerkes in Krefeld-Uerdingen on 26 February 1931, she took voice lessons with the baritone Berthold Pütz in her hometown. In 1949 at age 18, she was engaged as a beginner (Anfängerin) at the Cologne Opera, where she made her debut as the Page in Verdi's Rigoletto. In 1951, she appeared as Gretchen in Lortzing's Wildschütz and as Nuri in d’Albert's Tiefland. She married Johannes Pütz that year and took her stage name. From 1951 to 1957, she was a member of the Staatsoper Hannover as a coloratura soubrette, singing roles such as Blonde in Mozart's Die Entführung aus dem Serail, Marzelline in Beethoven's Fidelio, and Adele in Die Fledermaus by Johann Strauss.
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Strömberg, an actor from Sweden, had the ambition to create native Norwegian actors in a country where theatre until then had been performed only by travelling foreign theatre companies, and his theatre was inaugurated by a ballet performed by the Norwegian dancers Henriette Hansen and Andrine (Randine) Christensen, followed by the play Hustrun, translated from Die deutsche Hausfrau by August von Kotzebue, where the main roles were performed by Kolstad and Poul Jensen Boiflin. Kolstad and Boiflin are described as the leading actors of the theatre during its very first years. She was described as a talented comedy actor and a soubrette. Kolstad was engaged at the theatre until her death in 1830.
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A Comedy of Sighs by John Todhunter was quickly substituted, with Farr in the leading role, but the play was badly received and the entire venture was nearly a disaster. Shaw's Arms and the Man After receiving a desperate cable from Farr, Shaw delivered his Arms and the Man. With only one week of rehearsal, Farr originated the supporting soubrette role of Louka, the vivacious and insolent servant girl who steals the affections of the hero from the play's lead ingenue, which Farr had conceded to the well-known actress Alma Murray. A bold satire of romantic idealism, the play was a great success with both audiences and critics, and still stands as one of Shaw's greatest works.
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Singers and the roles they play are classified by voice type, based on the tessitura, agility, power and timbre of their voices. Male singers can be classified by vocal range as bass, bass-baritone, baritone, tenor and countertenor, and female singers as contralto, mezzo-soprano and soprano. (Men sometimes sing in the "female" vocal ranges, in which case they are termed sopranist or countertenor. The countertenor is commonly encountered in opera, sometimes singing parts written for castrati—men neutered at a young age specifically to give them a higher singing range.) Singers are then further classified by size—for instance, a soprano can be described as a lyric soprano, coloratura, soubrette, spinto, or dramatic soprano.
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Bella Goodall Isabella Goodall (10 August 1851 – 2 February 1884)Dates are from Goodall's obituary notice in The Era, 9 February 1884, p. 11. According to the obituary section of Who's Who in The Theatre (which gives the date of her death as 3 February 1884) she was aged 32 when she died, which accords with The Era. If these sources are correct, she was only 13 when she was given the benefit performance in Liverpool, and 14 when she made her London debut was an English soubrette of the Victorian theatre. She made her name on the stage in her native city, Liverpool, and later became a star of the London theatre, both in burlesque and comic plays.
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On September 19, 1884, Kendall opened in We, Us & Company, a musical farce he wrote that would bring him to national attention. After a successful yearlong tour Kendall sold the rights to We, Us & Company to Mestayer and then proceeded to organize his own company. His most successful production during this period was probably A Pair of Kids, that toured for at least six seasons over the late 1880s and early 1890s. Around 1894 he wrote and then toured in The Substitute with the diminutive comedian Arthur Dunn and his sister, soubrette Jennie Dunn, and appeared in David Henderson's extravaganza Ali Baba, during its run of one hundred nights at the Chicago Opera House.
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Déjazet was born in Paris in 1798, and made her first appearance on the stage at the age of five. It was not until 1820, when she began her seven years' connexion with the recently founded Gymnase, that she won her triumphs in soubrette and "Breeches roles", which came to be known as "Dejazets." From 1828 she played at the Théatre des Nouveautés for three years, then at the Théâtre des Variétés, and finally she became manager, with her son, of the Folies-Déjazet, later renamed the Théâtre Déjazet. Here, at the age of sixty-five she still had success in youthful parts, especially in a number of Sardou's earlier plays, previously unacted.
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In the market square in the capital city, Speisesaal, Ernest Dummkopf's theatrical company is ready to open their production of Troilus and Cressida that night. They also prepare to celebrate the wedding of the troupe's leading comedian, Ludwig, to Lisa, a soubrette of the company. The marriage cannot take place, however, as there are no parsons available in the city: all clerics have been summoned to the palace by the Grand Duke of Pfennig-Halbpfennig to discuss his own forthcoming marriage. Everyone has grown to resent the Grand Duke, and all of the company had already become members of a plot to blow him up with dynamite and place a new man on the throne.
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They were more like what musical comedy was to become at maturity than their Gaiety Theatre siblings, the more review-like "Girl" musicals. These shows included hits like An Artist's Model (1895), The Geisha (1896), A Greek Slave (1898), and San Toy (1899). The stars at Daly's included strong, romantic singers: baritone Hayden Coffin and soprano Marie Tempest. They were joined by soubrette dancer Letty Lind and comic Huntley Wright. After a falling out with Coffin, Edwardes found success at Daly's with a series of English-language adaptations of European operettas, including Les p'tites Michu (1905), The Merry Widow (1907), The Dollar Princess (1910), The Count of Luxemburg (1911) and The Marriage Market (1913).
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Various troupes and actors would alter his behaviour to suit style, personal preferences, or even the particular scenario being performed. He is typically cast as the servant of an innamorato or vecchio much to the detriment of the plans of his master. Arlecchino often had a love interest in the person of Columbina, or in older plays any of the Soubrette roles, and his lust for her was only superseded by his desire for food and fear of his master. Occasionally, Arlecchino would pursue the innamorata, though rarely with success, as in the Recueil Fossard of the 16th century where he is shown trying to woo Donna Lucia for himself by masquerading as a foreign nobleman.
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Born in Halberstadt, Chryst received singing lessons among others from Christl Gernot-Heindl (opera studio Gernot-Heindl) in Munich, Clemens Glettenberg, Cologne, and with Kammersänger Josef Metternich, a long-time lecturer at the Hochschule für Musik Köln. In 1964 she made her debut at the Staatstheater am Gärtnerplatz in Munich as maiden Anna in the comic-fantastic opera The Merry Wives of Windsor by Otto Nicolai. Chryst interpreted great parts of opera literature, mainly from the field of soubrette and lyrical coloratura soprano, including Norina in Don Pasquale, Marie in Zar und Zimmermann, Despina in Così fan tutte, Zdenka in Arabella, Nedda in Bajazzo, Zerline in Fra Diavolo and Olympia in The Tales of Hoffmann. In addition, there were various roles in the field of operetta (e.g.
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Her debuts – both in opera and film – took place in 1926. She played a minor role in Frederic Zelniks silent movie Die Försterchristl and started singing leading roles in operas and operettas at the Stadttheater Basel in the north of Switzerland. Already in 1928 she was called to Berlin and within a short period became one of the favourite singers of conductor Otto Klemperer – firstly at the Kroll Opera House, later on at the prestigious Staatsoper Unter den Linden. Although best remembered for her soubrette roles in Mozart operas, especially Despina and Blonde, and as Ännchen in Webers Der Freischütz, she achieved also great successes and admiration in Strauss operetta roles, particularly as Arsena in Der Zigeunerbaron and as Adele in Die Fledermaus.
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There are several dozen feminine roots that do not normally take the feminine suffix -ino: :Words for women: damo (lady), matrono (matron), megero (shrew/bitch, from mythology); :Female professions: almeo (almah), gejŝo (geisha), hetajro (concubine), meretrico (prostitute), odalisko (odalisque), primadono (prima donna), subreto (soubrette); :Female mythological figures: amazono (Amazon), furio (Fury), muzo (Muse), nimfo (nymph), sireno (siren), etc. :Special words for female domestic animals: guno (heifer) :Spayed animals: pulardo (poulard) :Words for female: ino, femalo. Like the essentially masculine roots (those that do not take the feminine suffix), feminine roots are rarely interpreted as epicene. However, many of them are feminine because of social custom or the details of their mythology, and there is nothing preventing masculine usage in fiction.
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In San Francisco, she sang Sophie in Der Rosenkavalier, Sister Constance of St Dénis in Dialogues des Carmélites (the United States premiere), Oscar in Un ballo in maschera (to the Amelia of Herva Nelli), Lauretta in Gianni Schicchi, and Dircé in Médée (the Italian version), from 1957 to 1960. In 1963, she sang one of the Flower-maidens in Parsifal, at the Bayreuth Festival. She also took part, in 1964, in the American premiere of Daphne, at the Santa Fe Opera. Excelling in coloratura and soubrette roles, she can be heard on recordings, in Un ballo in maschera, opposite Birgit Nilsson, Giulietta Simionato, Carlo Bergonzi, and Cornell MacNeil, under Sir Georg Solti (1960–61), and as Lisa in La sonnambula, with Dame Joan Sutherland (1962).
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Lipp possessed a pure, supple high-soprano voice with an accurate coloratura technique and a so- called "white" tone. Her career, which began in soubrette and high coloratura roles, later progressed to more lyrical ones, such as Ilia in Mozart's Idomeneo, Countess Almaviva in his Figaro, Donna Elvira in his Don Giovanni, Pamina in his Die Zauberflöte, Eva in Wagner's Die Meistersinger von Nürnberg, Musetta in Puccini's La bohème, and the title roles of Flotow's Martha and Verdi's La traviata, among others. She made her United States debut as Nanetta in Verdi's Falstaff at the San Francisco Opera in 1962. The same year she performed as Pamina with Herbert von Karajan at the re-opening at Theater an der Wien as a festival theatre.
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The acting company would usually consist of a leading lady, a leading man, a set of juveniles (one male and one female ingenue for the young, often romantic role(s)), a character actor and actress (for the older or eccentric parts) and perhaps a vain and girlish soubrette. The company might occasionally bring in a guest star to increase interest, albeit in exchange for a cost increase often large enough to offset the rise in revenues brought by any increase in attendance. The resident cast would number seven, plus the resident director, usually serving as the artistic director in charge of the whole enterprise. Additionally there would be the stage director, the assistant stage manager (ASM), some unpaid apprentices, and light and sound technicians.
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In 1906, she and her first husband both joined the roster of singers at the Oper Frankfurt through the invitation of Emil Claar. She made her first appearance at that house in early 1907, and remained committed to that opera house until her retirement from the stage in 1935. Outside of Frankfurt, she appeared as a guest artist at the Berlin State Opera, the Liceu, the Teatro Colón, and the Teatro Real. She toured the United States in 1923-1924 with the German Opera Company and also toured with the Oper Frankfurt to the Netherlands in 1934. In her early career, Gentner-Fischer sang only smaller parts, but by 1910 she was performing leading roles in the soubrette and lyric soprano repertoire.
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She married Gabriel Saint-Remy, a servant of the royal court, and was thus known as Louise Saint-Remy until her divorce, when she called herself Mrs Götz. As many other of the pioneer generation of actors at the Royal Dramatic Theatre, Louise Götz was engaged as an actress at the theater of Adolf Fredrik Ristell, which was founded in 1787, and transferred to the staff of the Royal Dramatic Theatre when the Ristell theatre when bankrupt and was transformed to the Royal Dramatic Theatre, which was founded in 1788. Louise Götz belonged to the more famed of the actors of the theater. Described as pretty and sensual, she was hugely popular in soubrette- and breeches roles and received one of the highest salaries of the theater.
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Her performance was received with great enthusiasm, and her career was established. Combining an attractive voice with sparkling coloratura agility and good looks, Peters became a favorite of American audiences and a great proponent of opera for the masses. She quickly established herself in the standard soubrette and coloratura repertoire. Her roles at the Met included Susanna in The Marriage of Figaro; Despina in Così fan tutte; The Queen of the Night in The Magic Flute; Amore in Gluck's Orfeo ed Euridice; Marzeline in Beethoven's Fidelio; Rosina in The Barber of Seville; Adina in L'elisir d'amore; Norina in Don Pasquale; Oscar in Un ballo in maschera; Nanetta in Falstaff; Olympia in The Tales of Hoffmann; Sophie in Der Rosenkavalier; Zerbinetta in Ariadne auf Naxos; and Adele in Die Fledermaus.
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Achilles Paoloni, employed by Soubrette, a small publishing house of the knight Pasquale Belafronte, writes a science fiction novel that he hopes in vain to publish with the help of the hostile knight. U.S. scientists are aware that Achilles has a substance in the blood suitable for spaceflight, the glumonio, inheritance of the unusual breast milk-based monkey when he was newborn. When two FBI agents are sent to the office to propose a space mission to Achilles, he thinks they are representatives interested in publishing his novel overseas. The cavalier Pasquale, aware of it, goes back on years of insults and hostility to the poor Achilles and does everything to publish the novel at his own expense, even agreeing to the marriage between the young man and his daughter Lydia.
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He sang in a production of Le Voyage en Chine and toured in La fille de Madame Angot, The Blind Beggars and As You Like It. In 1882 he appeared in the West End in Melita, which failed, before moving on to the more successful The Merry Duchess by George Robert Sims and Frederic Clay at the Royalty Theatre (1883) before playing Jan in The Beggar Student at the Alhambra Theatre (1884). Next he was de Lansac in François les bas-bleus and toured in Olivette with Emily Soldene. His professional reputation in London was ruined when he agreed to sing in the American-style musical comedy Capers at the Standard Theatre (1885) in a piece written by the American composer Richard Stahl in an attempt to launch his wife Bertie Crawford as a soubrette.
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When Ristell when bankrupt and fled the country to escape his creditors the year after, the theater was transformed by king Gustav III of Sweden to Royal Dramatic Theatre, and the actors formed a board of directors, which ruled the theater until 1803. In the rapports of Armfelt, who observed the board meetings as a representative of the Royal Swedish Academy of Arts, Elisabeth Forsselius was described as irresponsible and capricious - however, these sessions where known to be stormy, and if the judgement was correct, she was far from alone in being so. Elisabeth Forsselius was described as an excellent dramatic actress particularly within comedy. She frequently played breeches roles and soubrette roles, and her appearance allowed her to play teenage boys and girls until her last years on the stage.
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In 1976 after successfully growing, the newspaper moved into a new building on Soubrette Avenue in central Valencia. At the new facility, El Carabobeño purchased a new electronic system for processing that was one of the most advanced in Latin America at that period of time. In 1997, a newly built headquarters for El Carabobeño in Naguanagua, a city north of Venezuela, was inaugurated by President Rafael Caldera, who called the newspaper "an example for the Latin American Journalism". The headquarters was designed by Marisol Alemán de López in a contemporary architecture, with the facility featuring an advanced electronic system, a museum on Venezuela's journalism, the original equipment used by the newspaper, two murals by Braulio Salazar as well as one auditorium and two convention halls at the Eladio Alemán Sucre Cultural Center.
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She became known in the Italian entertainment world with her election as Miss Italia in 1986. Her mother Marisa Jossa had been awarded the same title in 1959. The year after she placed 1st Runner-up at Miss Universe. In 1986, she had her first television role in the music contest Vota la voce, hosted by Claudio Cecchetto. She came back on TV in 1992 to lead the Retequattro's program I bellissimi di Retequattro; three years later she replaced for some week Paola Barale as soubrette of the Italian version of Wheel of Fortune, named La Ruota Della Fortuna. From 1996 to 1998, she presented with Luciano Rispoli the Telemontecarlo's daily program Tappeto volante and, from 1995 to 1997, hosted Aspettando Beautiful, a short show on air before the famous soap opera The Bold and the Beautiful, and Nonsolomoda.
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Or when the ambiguity of certain characters - an excellent example is the soubrette played by the charming Donatella Damiani - provides a touch of grace and bitchiness; or when the film becomes almost a musical; or when paradox becomes surrealist, such as the party and the hurricane at the villa of Katzone who's in despair because his favourite dog has died".Review first published in Corriere della Sera (Rome) on 29 March 1980. Fava and Vigano, 179 "Fellini appears as the Madame Bovary of his adolescence", wrote Claudio G. Fava for Corriere Mercantile. "He revels in the enjoyment he feels at working with an experienced crew, side by side with faithful technicians who simulate trains on the move or the sea washing the shores of the inevitable Romagnol beaches as though they were working of the set of George Méliès.
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Her first "legitimate role" in Yiddish theatre was as Hanele in Zolotarevsky's Yeshiva Bokher (Schoolboy). She toured and ended up in New York, playing Yiddish vaudeville with Sam Klinetsky at the Grand Theater, then doing four years of English- language comedy with Leon Errol and then six seasons in Philadelphia with Anshel Shor, who improved her Yiddish and gave her the opportunity to play the soubrette opposite Leon Blank, Celia Adler, Sam Kestin, Dayna Feynman, Samuel Goldenberg and Boris Thomashevsky. She then played at the National Theater in Student Prince and with Bertha Kalich in Di neshomeh fun a froy (The Soul of a Woman). She played alongside Yitskhok Feld, Julius Nathanson, Eli Mintz, Isidore Meltzer, Adof Fenigshtayn, Irving Jacobson, later Menasha Skulnik and Leo Fuchs in Yiddish movies such as Motl der opereytor and Ikh vil zayn a mame.
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In 2005, Natalia Bush was named Miss Tenerife. In the same year, Natalia won another beauty contest in Italy, when she was elected Girl of the Year by the underwear line of Intimo Roberta: subsequently, she was chosen to advertise the brand's products; entry into television, Natalia, in the same year, became a showgirl in a television program on the private channel Canale Italia, as soubrette of the quiz game called In bocca al lupo and hosted by Marco Predolin. In the winter of 2006, Natalia Bush entered in the major national television because she participated as showgirl in the variety of Rai 1 I raccomandati conducted by Carlo Conti. Natalia in 2006 won the beauty contest Miss Fashion TV Greece and later she posed for two sexy calendars for the year 2007, one for Fapim and one for Roberta.
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Davis, Wright, and Forrest first adapted Baum's story in 1958 under the title At the Grand, changing the setting from 1928 Berlin to contemporary Rome and transforming the ballerina into an opera singer closely resembling Maria Callas to accommodate Joan Diener, who was scheduled to star under the direction of her husband Albert Marre. All of them had collaborated on the earlier musical Kismet and anticipated another success, but Davis' book strayed too far from the story familiar to fans of the film. When Paul Muni agreed to portray Kringelein, the role was changed and expanded, with the character becoming a lowly hotel employee whose stay in a hotel suite is kept secret from the management. Flaemmchen became a dancing soubrette, Preysing and his dramatic storyline were eliminated completely, and two deported American gangsters were added for comic relief.
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Materna was the child of the noble but poor Lieutenant Friedrich Siegfried Johann Hans von der Lühe (1705–50) and Mechtilde Siegfriede Jullern (d. 1763), and joined the theatre in 1748 when it advertised for female actors, which were in short supply for the newly opened national stage in Copenhagen. It was unusual, and considered a great shame, for a member of nobility to perform on stage, and she took the stage name Materna to hide her identity. Anna Catharina Materna was not in reality considered to have much talent as an actor, but she knew how to portray a noblewoman, and was considered perfect for this on the stage, and she became a primadonna of the theatre in such parts, used much as a stage-ornament, and sometimes considered the first to interpret the soubrette role on the Danish stage.
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Alice Oates in 1878 at the time of her management of the Bush Street Theatre Born as Alice Merritt in Nashville in Tennessee, she was educated at a Catholic seminary in Kentucky before studying singing in Louisville in Kentucky and New Orleans intending to follow a career in opera. Aged about 15 she married James A. Oates, the stage-manager at the Adelphi Theater in Nashville under Augusta Dargon, and made her first appearance on the stage in his benefit as Paul in The Pet of the Petticoats. While still making occasional concert appearances under the name of ‘Mdlle Orsini’, she began working alongside her husband as a soubrette in shows in Nashville (1867), then in Cincinnati, Chicago and Saint Paul in Minnesota (where her husband took a theatre). As her confidence as a performer grew so her rôles became more important.
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Though successful in dramatic roles, as well as in foreign stage productions where Stokić specifically excelled in soubrette roles, her highest artistic achievement occurred in character comedy with her irresistibly suggestive acting that included spontaneity, freshness of expression, vivid imagination, exuberant temperament, and dynamic spirit. She was equally jovial in her private life and could be seen out and about living a bohemian life in Belgrade's kafanas, fraternizing with her, equally bohemian, male peers like Čiča Ilija Stanojević and Milan Gavrilović. When she organized a celebration of her 25 years of acting in Belgrade's bohemian quarter Skadarlija, fans from far and wide showed up, giving her presents that included cash, sacks full of coins, puppies in flower baskets, and war bonds. It is known that, even though she would not get a new role for over a year, she never complained.
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Until the late half of the 19th-century, only the biggest cities in Sweden and Finland had theaters with permanent staff, and numerous travelling theater companies toured between the smaller cities and towns of Sweden and Finland to perform in the theater buildings or temporary stages. The career of Charlotta Djurström illustrated the career of a countryside actress, and she belonged to the most famous of this category in her time. Initially mostly used in soubrette and breeches part, she continued to play the heroine roles, in which she was to be most known. She is most known for her role as Jeanne d'Arc in Orleanska Jungfrun ('Maid of Lorriane') by Schiller in 1832, which was actually the Swedish premier of this part, a role for which she became so famed that became known under the sobriquet the "Joan of Arc of the Countryside".
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The importance of opera buffa diminished during the Romantic period. Here, the forms were freer and less extended than in the serious genre and the set numbers were linked by recitativo secco, the exception being Donizetti's Don Pasquale in 1843. With Rossini, a standard distribution of four characters is reached: a prima donna soubrette (soprano or mezzo); a light, amorous tenor; a basso cantante or baritone capable of lyrical, mostly ironical expression; and a basso buffo whose vocal skills, largely confined to clear articulation and the ability to "patter", must also extend to the baritone for the purposes of comic duets.Fisher, Burton D. The Barber of Seville (Opera Classics Library Series) The type of comedy could vary, and the range was great: from Rossini's The Barber of Seville in 1816 which was purely comedic, to Mozart's The Marriage of Figaro in 1786 which added drama and pathos.
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She was however recognized as "an excellent utility, en rare representative of the socialite ladies of the finer French comedy, a terrific grisette and soubrette..."Zelma C E Hedin, urn:sbl:12737, Svenskt biografiskt lexikon (art av Claes Hoogland), hämtad 2018-06-17. and as a singer well suited for vaudeville. In the 1850s - after the golden age of Charlotta Almlöf and Fanny Westerdahl and prior to the breakthrough of Elise Hwasser - Zelma Hedin was reportedly the leading star actress of the Royal Dramatic Theatre, and in the season 1856-57 it was said that she had no rivals, "acted as the Grande Intrigante both on and off the stage" and exerted an influence "which was not without opposition". An incident describing her position was when The Merchant of Venice was cancelled because Hedin, after having learned the role of Portia, suddenly refused to play it the night of the premier, and no other actress had the time to study the part.
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Dumont trained as an operatic singer and actress in her teens, and began performing on stage in the U.S. and in Europe, at first under the name Daisy Dumont and later as Margaret (or Marguerite) Dumont. Her theatrical debut was in Sleeping Beauty and the Beast at the Chestnut Theater in Philadelphia, and in August 1902, two months before her 20th birthday, she appeared as a singer/comedian in a vaudeville act in Atlantic City. The dark-haired soubrette, described by a theater reviewer as a "statuesque beauty", attracted notice later that decade for her vocal and comedic talents in The Girl Behind the Counter (1908), The Belle of Brittany (1909) and The Summer Widower (1910). In 1910, she married millionaire sugar heir and industrialist John Moller Jr. and retired from stage work, although she had a small uncredited role as an aristocrat in a 1917 film adaptation of A Tale of Two Cities.
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Pavel Gerdt as Damis in the Glazunov/Petipa Les Ruses d'Amour (AKA The Trial of Damis or The Lady Soubrette), Saint Petersburg, 1900 Pavel Andreyevich Gerdt (), also known as Paul Gerdt (near Saint Petersburg, Russia, 22 November 1844 – Vamaloki, Finland, 12 August 1917), was the Premier Danseur Noble of the Imperial Ballet, the Bolshoi Kamenny Theatre, and the Mariinsky Theatre for 56 years, making his debut in 1860, and retiring in 1916. His daughter Elisaveta Gerdt was also a prominent ballerina and teacher. Gerdt studied under Christian Johansson, Alexander Pimenov (a pupil of the legendary Charles Didelot), and with Jean-Antoine Petipa (Marius Petipa's father, a master of the old pantomime and a student of Auguste Vestris). He was known as the "Blue Cavalier" of the Saint Petersburg stage, creating the roles of nearly every lead male character throughout the latter half of the 19th century, among them Prince Désiré in The Sleeping Beauty and Prince Coqueluche in The Nutcracker.
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Goldfaden's troupe began as all-male; while they soon acquired actresses, as well, it remained relatively common in Yiddish theatre for female roles, especially comic roles, to be played by men. (Women also sometimes played men's roles: Molly Picon was a famous Shmendrick.) Many early Yiddish theatre pieces were constructed around a very standard set of roles: "a prima donna, a soubrette, a comic, a lover, a villain, a villainess (or "intriguer"), an older man and woman for character roles, and one or two more for spares as the plot might require," and a musical component that might range from a single fiddler to an orchestra.Sandrow, 2003, 11 This was very convenient for a repertory company, especially a traveling one. Both at the start and well into the great years of Yiddish theatre, the troupes were often in one or another degree family affairs, with a husband, wife, and often their offspring playing in the same troupe.
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