674:
741:
270:
514:, however the same journal (30 November 1861) complained that "such perverted productions as these, in which the voice is treated as an instrument of brass or wood, intended to obey merely mechanical impulses rather than the grand and noble organ of human emotion, have ruined all the best singers whom France has recently produced, and by all who have any regard for pure art, ought to be energetically reprobated." Walsh remarks that when Cabel had left the Théâtre Lyrique, she had been replaced by
31:
595:(8 February 1863) reported that their critic had been reassured by the company that Mozart's music would remain unaltered and his "work will not be disparaged by exchanging the glass beads of Da Ponte for a diamond of Shakespeare." The "revival" had its first performance on 31 March 1863, and Marie Cabel sang the role of Rosine (Dorabella in the original, although she also sang the new words to the music of Fiordiligi's aria "Per pietĂ ").
445:
393:" were introduced. This was one of the most finished and brilliant displays of bravura singing to which we have listened for a long time, and was a genuine triumph for Madame Cabel, who was ably supported by MM. Legrand and Louis Cabel in the two male parts. Madame Cabel was re-called at the end of the opera, received with enthusiastic applause, and honoured with a shower of bouquets.
1727:
1693:
767:, were it not for the ease and unconsciousness of difficulty with which she executes them; one scarcely knows which to admire most in her singing—its perfect finish or entire absence of effort. Her execution of the air, 'Je suis Titania', a brilliant and enormously difficult polonaise, was unquestionably the greatest success achieved during the night."
325:. The London company was not officially the Théâtre Lyrique, as Seveste had refused to take part and remained in France in order to prepare for the fall season in Paris. This distinction was generally ignored by the press, however. The London contingent presented a two-month season at St James's, which opened with Cabel singing in
1715:
763:
young; but she is still a very handsome woman, retaining full possession of her powers, and her vocalization is marked by a grace and fluency which have been rarely equalled, and possibly never surpassed. There would be something almost audacious in the fearlessness with which she dashes off her ascending scales and
946:. Elle passa alors completement inaperçue..." ("In 1847, Madame Cabel went to Paris and was heard at the Chateau des Fleurs, a concert establishment situated on the Champs-Elysées, then she obtained an engagement at the Opéra-Comique, where she debuted in the month of May 1849 in the role of Georgette of
907:
Cabel. Walsh was aware of FĂ©tis's article (FĂ©tis's book is listed in his bibliography on p. 367) and repeats some portions of it. Nevertheless, FĂ©tis's information concerning the identity of Marie Cabel's husband is more or less replicated by Kuhn 1992, p. 114; Sadie 1992, vol. 1., p. 667; Chitty and
545:
returned as director, replacing Réty, and on 30 October 1862 the company moved to its new house on the Place du Châtelet. Because
Carvalho's appointment had been a surprise, his wife Caroline Carvalho had accepted other engagements and was unavailable for many of the starring roles. Cabel played hard
975:
Fétis 1878, p. 137. "Jeune, fraîche, accorte, souriante, ayant le diable au corps, manquant à la fois de goût et de style musical, mais douée d'une voix adorable, d'une pureté merveilleuse et dont le timbre brillant et argentin produisant un effet étonnant sur le public, avec cela lançant les traits
436:
for Cabel, he did not have to think twice. The opera premiered on 16 December 1854 with Cabel in the leading soprano role of Elvire, and although it is often considered to be one of Adam's weakest works, it turned out to be one of Perrin's more successful new productions at the theatre, receiving 54
699:
was on 4 April 1859 with Cabel singing the role of
Dinorah. At the end of the performance the calls for Meyerbeer were unending, and the Emperor and Empress summoned Meyerbeer to the Royal Box, where Marie Cabel was given the honor of placing a laurel wreath upon his head. Afterward Meyerbeer dared
382:
the "Thrush", surely, without any stretch of metaphor, Marie Cabel may be called the "Lark". No lark, indeed, could sing more sweetly, or pour forth its unpremeditated lay more joyously than she on
Wednesday night. Her singing was the very exhilaration of pleasant sounds, and her acting perfection,
937:
Kutsch and
Riemens do not specify which opera Cabel performed in her 1848 debut at the Théâtre Chateau des Fleurs or whether it was a concert performance or a fully staged one. Fétis 1878, p. 137, describes it somewhat differently: "En 1847, Mme Cabel vint à Paris et se fit entendre au chateau des
360:
has proved the most attractive opera produced by the company of the Théâtre
Lyrique, and, independently of the superiority of Auber's music to that of any other composer whose work has been produced, we do not hesitate to say that Madame Marie Cabel's Caterina is the most striking and interesting
300:
of 25 March 1854 suggested that "although not a work of the first class, it will probably have a run, owing to the manner in which the principal part is sustained by Mlle Marie Cabel…." This proved to be true, as it was performed a total of 60 times, that season and the next. Near the end of the
762:
wrote of a performance later that season: "The other female part was intrusted to Madame Marie Cabel, long one of the most distinguished favourites of the Opéra-Comique school. It would be a matter of some difficulty to speak too highly of this most accomplished singer. Madame Cabel is no longer
248:
described her as "young, fresh, winsome, cheerful, having the devil of a body, lacking at the time taste and musical style, but blessed with an adorable voice, of a marvelous purity, whose brilliant and silvery timbre produced an amazing effect on the public, with which she launched the most
599:
was the conductor. Much of Mozart's music had been rearranged to fit the new plot, and the recitatives were replaced with spoken dialogue. Perhaps it is unsurprising that this production was only presented a total of 18 times. Cabel gave her last performance in it on 8 May and went to
156:, who at that time lived in a chateau near Brussels, happened to hear Cabel sing as a child and predicted a great future for her. Cabel first studied voice in Liège with Bouillon, and, her father having died, gave music lessons to help support her mother. Cabel's younger brother
361:
character in which she has appeared in London. Perhaps it was because it was the last, and consequently made the deepest impression. The fair artist, however, could hardly be of that opinion; since, on the occasion of her benefit, Wednesday last, she selected
416:
as well. Marie Cabel had been under contract to
Seveste and was now free to go elsewhere, but Perrin was able to persuade her to sign a five-year contract with him for 40,000 francs per year and three months annual leave. The new season opened with Cabel in
478:(26 May 1855) for her appearance in this role: "She is chief of a Red Indian community, and she alone appears as a pale-face. She is queen of the savages, and her costume is too suggestive of a Parisian modiste. Some red ochre would be well applied…."
758:, the director of the Opéra-Comique from 1862 to 1870, later recalled: "Marie Cabel, who was playing Philine, asked Thomas to write her a grand aria in the garden scene. He regretfully did so." Yet Cabel received high praise for her singing of it.
355:
In spite of intense heat of the weather, which has helped mightily to thin most of the London theatres, the St. James's has been attended by fashionable audiences every evening on which the charming and fascinating Marie Cabel has appeared. The
173:
with
Ferdinand Cabel and Louis-Joseph Cabel. In 1847 she married Georges Cabel, the brother of Louis-Joseph and also a voice teacher. As the marriage was unhappy, they soon separated and ultimately divorced. That same year she gave a concert in
985:
Walsh 1981, p. 43. Walsh gives the first line of this aria as "Ah! qu'il fait donc beau cuellir des fraise"; the vocal score (p. 118 as reprinted by
Alphonse Leduc) has "Ah! qu'il fait donc bon, qu'il fait donc bon cueillir la fraise". See
589:. Such drastic adaptations were not uncommon in the 19th century, especially in Germany, but also in France. Many of the newspaper critics who had caught wind of the preparations for this new production were aghast and were saying so.
369:. After all it is a mere matter of choice whether Madame Cabel's Caterina or Maria is preferable. Many doubtless think the former, having no other reason than that they like the music of Auber better than the music of Donizetti.
253:
of 9 October 1853, reported that the hit of the show was Cabel's performance of the aria "Ah! qu'il fait donc bon cueillir la fraise". She became such a popular star that the company, located in the working class district of the
441:(30 December 1854) enthused, she was "neatly bound as to the feet in the very jauntiest little morocco boots…. She is the fauvette of the boulevards, the very sweetest of warblers; and her acting is quite equal to her singing."
497:
Cabel, being under contract with Perrin, followed him to the Opéra-Comique, but returned to the Théâtre
Lyrique for the 1861–1862 season, when the company was under the direction of Charles Réty. She appeared in revivals of
383:
both as the
Vivandière in costume and the Vivandière out of costume, as the daughter of the regiment, and as the daughter of her newly-found mother. In the second act Madame Cabel introduced the scene from M. Adolphe Adam's
692:. Despite "the personal success won in it by Mme Cabel" (according to Clément and Larousse), this work received only 3 performances. Meyerbeer had found that "Madame Cabel's assumption of the title role was very ordinary."
655:), attended some performances and recorded in his diary on 7 August 1857 that "Madame Cabel remained far below my expectations." By 31 October he found her "much better than before, without completely satisfying."
784:
In the following years Cabel made guest appearances in the French provinces and Belgium. She also appeared in concerts in London in 1871. In May and June 1872 she starred in a season of French opera at
335:(10 June 1854) opined that the opera was "exceedingly immoral—a thing of no importance in Paris, but not yet disregarded, we trust, in London." Cabel also appeared as Catarina in Daniel Auber's
374:
Mad. Marie Cabel was welcomed by an audience of true devotees on Wednesday night. The hot weather seemed to have no effect upon her voice, unless it was to render it still more soft and flexible. If
622:
After leaving the Théâtre Lyrique with Perrin to join the Opéra-Comique company at the end of 1855, Cabel's first creation was on 23 February 1856 in the title role of Daniel Auber's 3-act opera
886:
Cabu (? – 1884), a baritone, was a member of Adolphe Adam's Opéra-National at the Cirque Olympique in Paris in 1847–1848 (Walsh 1981, pp. 360, 375). He rejoined the revived company (renamed
432:
for the Théâtre Lyrique. It was thought that producing both works at the same time would cause jealousies to arise, so Adam was given a choice of one or the other. Since he had written
700:
to write in his diary that he considered it "a brilliant success". The critics were also quite positive, and Cabel was praised for her "vertiginous-virtuoso portrayal of Dinorah."
832:
Kutsch and Riemens 2003, p. 675, give her birth name as Marie-Josèphe Dreulette; Walsh 1981, p. 375, as Marie Josephe Dreulette; Fétis 1878, p. 137, as Marie-Josèphe Dreullette.
673:
938:
Fleurs, établissement de concerts situé aux Champs-Elysées, puis elle obtint un engagement à l'Opéra-Comique, où elle débuta au mois de mai 1849 dans la rôle de Georgette du
1772:
740:
1609:
510:(14 September 1861) reported that "the house was crowded and the reception of the brilliant songstress was of the most enthusiastic description." By the time of
681:
By October 1858, Meyerbeer had apparently decided on Cabel as Dinorah, since no other more suitable singer was available, and was working with her on the part.
670:(19 December 1857) wrote: "The execution of an air without words, imitating a 'concerto (!) for violin', as we are informed, was a prodigy of vocalisation."
269:
1006:
Antoine Louis Clapisson (born Naples, 15 September 1810; died Paris 19 March 1866), French composer, curator, and teacher (Bran-Ricci and Lacombe 2001).
994:
533:). The work received a total of 72 performances that year and the next and was the greatest success of RĂ©ty's directorship, but was never revived.
1767:
1677:
1662:
1644:
1618:
1597:
1555:
1536:
1521:
1506:
1488:
1470:
1446:
1757:
1314:
Cabel's participation in these premiers is from Parsons 1993, p. 204; performance data are from Wild and Charlton 2005, pp. 188, 446.
1588:
489:. It had already been announced the previous April that Perrin was leaving his position as director, and he did so on 29 September.
452:
Later in the season, after a series of lackluster productions by Perrin (with the exception of a highly adapted revival of Weber's
1762:
1431:
903:
Cabu (? – 1881) (see Walsh 1981, pp. 43, 375). Fétis 1878, p. 137, states that Cabel married her voice teacher Louis-Joseph Cabu
236:
in Paris. Seveste engaged her for the 1853–1854 season at his theatre, where she made her debut creating the role of Toinon in
185:
Cabel made her operatic debut in Paris at the Château des Fleurs in 1848, and in 1849 sang the roles of Georgette in Halévy's
557:, which premiered on 7 January 1863, did poorly, a replacement had to be quickly brought to the stage. This turned out to be
807:. She retired in 1877 due to increasing signs of mental derangement, and was eventually confined to an asylum. She died in
397:
The success of the company in London was somewhat tarnished, however, as Jules Seveste had died unexpectedly on 30 June in
1705:
546:
to get, insisting on a fee of more than 6,000 francs per month. Presumably she got it, because she was singing again in
321:
After the season in Paris was over, during the summer break, a contingent of the company led by Lafont went to London's
1088:
1604:
1388:
337:
331:
1413:
704:
281:
245:
200:
1494:
1461:
772:
581:
987:
412:
took over as director of the Théâtre Lyrique on 26 July 1854, while retaining his position as the director of the
711:
on 23 April 1860. This piece received a total of 25 performances. On 28 May 1866 she appeared in the premiere of
638:
515:
390:
754:. Philine's polonaise in the garden scene, "Je suis Titania la blonde", was written for Cabel at her request.
719:, which received 23 performances. Cabel's other appearances at the Opéra-Comique included revivals of Auber's
647:
791:
464:
343:
1697:
437:
performances that year and the next. Its ephemeral success can be attributed almost entirely to Cabel. As
179:
633:
748:
One her most important creations was on 17 November 1866, when she sang Philine in Thomas's 3-act opera
624:
887:
322:
263:
233:
102:
1752:
1747:
712:
628:. The famous aria "Éclat de rire" ("Laughing Song") is said to have been created especially for her.
1184:
Prosper Pascal (ca. 1825–1880), French composer, music critic, and translator (Walsh 1981, p. 381.).
125:. She is probably best remembered for having created the role of Philine in Ambroise Thomas's opera
890:), in the fall of 1853, along with Marie Cabel, who was his sister-in-law (Walsh 1981, pp. 39, 43).
255:
187:
1199:
122:
521:
Later that season on 18 March 1862 Cabel appeared to great acclaim as FĂ©line in the premiere of
1673:
1658:
1640:
1622:
1614:
1593:
1569:
1561:
1551:
1532:
1517:
1502:
1484:
1466:
1442:
1421:
1342:
1053:
1048:
803:
721:
685:
610:. After this Cabel turned down LĂ©on Carvalho's offer for the next season and decided to go to
563:
454:
444:
1719:
1499:
An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays
1476:
1407:
1396:
1382:
808:
596:
568:
542:
530:
413:
196:
107:
76:
30:
474:
and was performed a total of 124 times by the company. Cabel did receive some criticism in
152:'s army, who after his discharge had become an accountant for various theatres in Belgium.
797:
659:
604:, relieving Miolan-Carvalho, who was then able to return to Paris and perform in Gounod's
379:
289:
153:
1194:
770:
Cabel's last creation at the theatre was Hélène in one of Auber's last operas, the 3-act
726:
591:
576:
409:
249:
difficult lines with amazing confidence and assurance…" Georges Bousquet, writing in the
1583:
755:
586:
385:
1741:
1452:
786:
606:
572:
522:
229:
776:(15 February 1868). This work was also successful being given 175 times up to 1873.
1731:
1632:
1425:
1400:
259:
237:
157:
1247:
Quoted by Walsh 1981, p. 83; the date of the work's premiere is from Forbes 1992.
1650:
1456:
482:
280:
Cabel continued singing at the Théâtre Lyrique, creating the roles of Corbin in
162:
789:, under the management of a Sgr Montelli. Works performed included Donizetti's
160:
also became a singer and in 1863 created the role of Hylas in Hector Berlioz's
1527:
Meyerbeer, Giacomo; Letellier, Robert Ignatius, translator and editor (2004).
666:(first performed on 9 December 1857) in which she sang an elaborate vocalise.
375:
208:
1329:
1269:, 1905 revision by Pougin, vol. 1, p. 107; quoted in Meyerbeer 2004, p. 108.
601:
199:, where she went almost unnoticed. Moving back to Brussels, she sang at the
1692:
1626:
1577:
1265:"le succès personnel qu'y obtint Mme Marie Cabel", Clément and Larousse,
309:, but was announced, and may have returned, for a benefit performance of
302:
170:
149:
145:
58:
1087:
was apparently never performed or published (Champlin and Apthorp 1893,
1573:
89:
1726:
1529:
The Diaries of Giacomo Meyerbeer. Volume 4: The Last Years, 1857–1864
750:
462:
on 24 January 1855), Cabel created the role of Jaguarita in Halévy's
398:
306:
212:
203:
from 1850 to 1853 with greater success. In 1852 she also appeared in
127:
1434:(1992). "Thomas, Ambroise" in Sadie 1992, vol. 3, pp. 726–727.
207:, at a salary of 3,000 francs per month, and the following year in
976:
les plus difficiles avec une crânerie et une sûreté surprenantes…"
739:
672:
443:
268:
175:
1637:
Second Empire Opera: The Théâtre Lyrique, Paris, 1851–1870
1516:(3rd ed., revised). Totowa, New Jersey: Rowman and Littlefield.
611:
204:
485:, but returned to open the 1855–1856 season on 1 September in
1531:. Madison, New Jersey: Fairleigh Dickinson University Press.
684:
On 4 November 1858 Cabel created the leading soprano role in
468:(14 May 1855). This production was even more successful than
258:, began to attract a well-heeled audience, including Emperor
424:
Adolphe Adam had recently written two new works for Perrin,
1391:, editor; Apthorp, William Foster, critical editor (1893).
351:(29 July 1854) reported in detail on Cabel's performances:
1333:, March 13, 1894 (Lacombe 2001, pp. 22–23, 116, 355n48).
637:. Meyerbeer, who was trying to decide whether Cabel or
1655:
Théâtre de l'Opéra-Comique Paris: répertoire 1762–1972
1420:, supplement, vol. 1, pp. 137–138. Paris: Didot.
148:, she was the daughter of a former cavalry officer in
1703:
1023:
1021:
658:
In the meantime, Cabel created the role of Sylvia in
518:"who seems to have refined public taste in singing."
1385:(2001). "Clapisson, (Antonin ) Louis" in Sadie 2001.
908:
Rosenthal 2001; and Kutsch and Riemens 2003, p. 675.
1049:"Dramatic. St. James's Theatre—Opera Comique"
95:
84:
65:
40:
21:
1481:The Keys to French Opera in the Nineteenth Century
428:for the Opéra-Comique and the 3-act opéra-comique
301:season in May, Cabel was on leave and appeared in
1670:Giacomo Meyerbeer: Eine Biografie nach Dokumenten
1410:(2001). "Cabel , Marie(-Josèphe)" in Sadie 2001.
378:be entitled to be called the "Nightingale", and
1610:The New Grove Dictionary of Music and Musicians
1550:. Lewiston, New York: The Edward Mellen Press.
1544:Opera Premieres: An Index of Casts/Performances
585:. The music was arranged by Prosper Pascal and
1202:. Quoted and translated by Walsh 1981, p. 158.
571:'s original libretto was replaced with one by
121:(31 January 1827 – 23 May 1885) was a Belgian
1395:, vol. 1. New York: Charles Scribner's Sons.
8:
1501:, p. 195. Hampshire, England: Ashgate.
1483:. Berkeley: University of California Press.
1144:
1142:
954:. She passed then completely unnoticed...").
469:
1465:(4th ed., in German). Munich: K. G. Saur.
1035:
1033:
529:(with a libretto based on a vaudeville by
228:It was in Lyon that she was discovered by
29:
18:
995:International Music Score Library Project
962:
960:
1773:19th-century Belgian women opera singers
1479:, Schneider, Edward, translator (2001).
924:
922:
920:
918:
916:
914:
860:
858:
1710:
1657:. Sprimont, Belgium: Editions Mardaga.
1566:Two Centuries of Opera at Covent Garden
848:
846:
844:
842:
840:
838:
825:
1323:Quoted by G. Loiseau, "La Millième de
481:During the summer break Cabel went to
16:Belgian coloratura soprano (1827–1885)
7:
1418:Biographie universelle des musiciens
787:London's Opéra-Comique in the Strand
641:was better suited for his new opera
942:, après quoi delle se montra dans
703:Cabel created the role of Lise in
313:at the Théâtre Lyrique on 1 June.
286:Georgette ou Le moulin de Fontneoy
14:
1589:The New Grove Dictionary of Opera
1393:Cyclopedia of Music and Musicians
631:She also appeared in Meyerbeer's
579:which was based on Shakespeare's
553:When Théophile Semet's new opera
178:and continued her studies at the
1725:
1713:
1691:
1592:(4 volumes). London: Macmillan.
928:Kutsch and Riemens 2003, p. 675.
288:(28 November 1853) and Marie in
144:Born Marie-Josèphe Dreulette in
1514:Annals of Opera 1597–1940
1109:Walsh 1981, pp. 57–58, 60, 306.
1672:(in German). Berlin: Parthas.
1256:Meyerbeer 2004, pp. 41, 94–99.
950:, after which she appeared in
873:Walsh 1981, pp. 170, 317, 375.
389:, in which the variations on "
273:Cabel as Marie in Clapisson's
1:
1768:Conservatoire de Paris alumni
1613:, 2nd ed. London: Macmillan.
1211:Walsh 1981, pp. 156–160, 316.
1166:Walsh 1981, pp. 143–144, 315.
1148:Quoted by Walsh 1981, p. 140.
952:Les mousquetaires de la reine
944:les Mousquetaires de la Reine
193:Les mousquetaires de la reine
169:Cabel later studied voice in
1542:Parsons, Charles H. (1993).
1441:. New York: Schirmer Books.
1437:Kuhn, Laura, editor (1992).
1358:Loewenberg 1978, column 996.
1118:Quoted by Walsh 1981, p. 60.
1015:Quoted by Walsh 1981, p. 47.
695:The premiere of Meyerbeer's
1668:Zimmermann, Reiner (1998).
1607:; executive editor (2001).
1512:Loewenberg, Alfred (1978).
1439:Baker's Dictionary of Opera
1389:Champlin, John Denison, Jr.
1100:Walsh 1981, pp. 55–56, 305.
997:, vocal scores, file #71241
506:in November. Of the former
367:Les Diamants de la Couronne
338:Les diamants de la couronne
332:The Illustrated London News
1789:
1653:; Charlton, David (2005).
1495:Letellier, Robert Ignatius
864:Chitty and Rosenthal 1992.
773:Le premier jour de bonheur
561:, a reworking of Mozart's
1758:Belgian operatic sopranos
735:Le songe d'une nuit d'été
341:and Marie in Donizetti's
251:Revue et Gazette Musicale
191:and Athénaïs in Halévy's
28:
1603:Sadie, Stanley, editor;
1546:, vol. 15 in the series
1287:Zimmermann 1998, p. 302.
1175:Walsh 1981, pp. 153–155.
705:François-Auguste Gevaert
643:Le chercheur des trésors
639:Caroline Miolan-Carvalho
516:Caroline Miolan-Carvalho
391:Ah! vous dirai-je, maman
282:François-Auguste Gevaert
1639:. London: John Calder.
1367:Rosenthal 1958, p. 182.
1305:Letellier 2008, p. 196.
1296:Meyerbeer 2004, p. 121.
1267:Dictionnaire des opéras
1075:Walsh 1981, pp. 52, 54.
1057:(29 July 1854), p. 502.
715:'s 2-act opéra-comique
358:Diamants de la Couronne
317:London – Summer of 1854
45:Marie-Josèphe Dreulette
1548:The Mellen Opera Index
1278:Meyerbeer 2004, p. 95.
1238:Meyerbeer 2004, p. 50.
1229:Meyerbeer 2004, p. 40.
1220:Meyerbeer 2004, p. 27.
745:
678:
662:' 3-act opéra-comique
559:Peines d'amour perdues
548:La chatte merveilleuse
527:La chatte merveilleuse
470:
449:
395:
371:
277:
232:, the director of the
219:At the Théâtre Lyrique
180:Conservatoire de Paris
1381:Bran-Ricci, Josiane;
743:
697:Le pardon de Ploermel
676:
664:Le carnaval de Venise
648:Le pardon de Ploërmel
541:The following season
447:
430:Le muletier de Tolède
372:
353:
272:
201:Théâtre de la Monnaie
140:Early life and career
1763:Musicians from Liège
1700:at Wikimedia Commons
1462:Großes Sängerlexikon
1343:"Letter from Paris"
792:La fille du régiment
713:Friedrich von Flotow
709:Le chateau trompette
645:(later to be titled
618:At the Opéra-Comique
582:Love's Labour's Lost
465:Jaguarita l'Indienne
363:La Fille du RĂ©giment
344:La fille du régiment
1157:Walsh 1981, p. 140.
1027:Walsh 1981, p. 304.
882:Louis Joseph Cabel
852:FĂ©tis 1878, p. 137.
448:Marie Cabel in 1855
256:Boulevard du Temple
244:on 6 October 1853.
1568:. London: Putnam.
1136:Walsh 1981, p. 64.
1127:Walsh 1981, p. 63.
1066:Walsh 1981, p. 49.
1039:Walsh 1981, p. 48.
966:Walsh 1981, p. 43.
746:
679:
450:
323:St James's Theatre
278:
264:Eugénie de Montijo
262:and his new bride
123:coloratura soprano
1696:Media related to
1678:978-3-932529-23-8
1663:978-2-87009-898-1
1645:978-0-7145-3659-0
1619:978-1-56159-239-5
1598:978-1-56159-228-9
1586:, editor (1992).
1562:Rosenthal, Harold
1556:978-0-88946-414-8
1537:978-0-8386-3845-3
1522:978-0-87471-851-5
1507:978-0-7546-6039-2
1489:978-0-520-21719-5
1471:978-3-598-11598-1
1447:978-0-02-865349-5
1432:Forbes, Elizabeth
1408:Rosenthal, Harold
1345:The Musical World
1198:8 February 1863,
1054:The Musical World
760:The Musical World
668:The Musical World
508:The Musical World
502:in September and
476:The Musical World
439:The Musical World
365:in preference to
349:The Musical World
298:The Musical World
296:(16 March 1854).
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744:Cabel as Philine
677:Cabel as Dinorah
634:L'Ă©toile du nord
597:Adolphe Deloffre
473:
188:Le val d'Andorre
77:Maisons-Laffitte
72:
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798:La dame blanche
782:
733:, and Thomas's
660:Ambroise Thomas
620:
550:on 31 October.
539:
525:'s 3-act opera
495:
407:
319:
290:Louis Clapisson
234:Théâtre Lyrique
226:
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154:Pauline Viardot
142:
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103:Théâtre Lyrique
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1686:External links
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1584:Sadie, Stanley
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899:Georges Cabel
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804:L'ambassadrice
801:, and Auber's
795:, Boieldieu's
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722:L'ambassadrice
686:Eugène Gautier
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564:Così fan tutte
538:
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500:Le bijou perdu
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460:Robin des Bois
455:Der FreischĂĽtz
426:Le dernier bal
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537:LĂ©on Carvalho
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96:Organizations
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35:Cabel in 1850
32:
27:
20:
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1651:Wild, Nicole
1636:
1633:Walsh, T. J.
1608:
1605:John Tyrrell
1587:
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1457:Riemens, Leo
1438:
1426:Google Books
1417:
1401:Google Books
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1195:Le MĂ©nestrel
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592:Le MĂ©nestrel
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577:Michel Carré
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238:Adolphe Adam
227:
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118:
117:
71:(1885-05-23)
1753:1885 deaths
1748:1827 births
1698:Marie Cabel
780:Final years
756:Eugène Ritt
587:LĂ©o Delibes
483:Baden-Baden
434:Le muletier
163:Les Troyens
119:Marie Cabel
69:23 May 1885
23:Marie Cabel
1742:Categories
1414:FĂ©tis F-J.
815:References
471:Le multier
419:La promise
376:Jenny Lind
311:La promise
294:La promise
275:La promise
209:Strasbourg
85:Occupation
51:1827-01-31
1720:Biography
1627:419285866
1578:503687870
1330:Le Figaro
614:instead.
602:Marseille
567:in which
512:Jaguarita
504:Jaguarita
487:Jaguarita
386:Taureador
135:Biography
88:Operatic
1635:(1981).
1629:(eBook).
1564:(1958).
1497:(2008).
1459:(2003).
1416:(1878).
765:roulades
731:Galathée
569:Da Ponte
555:L'ondine
303:Bordeaux
171:Brussels
150:Napoleon
79:, France
1706:Portals
1375:Sources
653:Dinorah
458:called
195:at the
90:soprano
1676:
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1574:593682
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1469:
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1325:Mignon
991:(Adam)
751:Mignon
399:Meudon
380:Alboni
307:Nantes
213:Geneva
158:Edmond
128:Mignon
1732:Opera
1200:p. 75
820:Notes
717:Zilda
607:Faust
246:FĂ©tis
176:Paris
146:Liège
59:Liège
1674:ISBN
1659:ISBN
1641:ISBN
1623:OCLC
1615:ISBN
1594:ISBN
1570:OCLC
1552:ISBN
1533:ISBN
1518:ISBN
1503:ISBN
1485:ISBN
1467:ISBN
1455:and
1443:ISBN
1422:View
1397:View
1089:p. 8
612:Lyon
575:and
305:and
211:and
205:Lyon
66:Died
41:Born
1424:at
1399:at
1327:",
905:dit
729:'s
707:'s
688:'s
651:or
292:'s
284:'s
240:'s
1744::
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884:né
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53:)
49:(
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