~ Christine Daaé ~
~ and who inspired her character ~
Her names in different version
Christine Daaé (Leroux)
Cristna Daé (El Fantasa De «La Ópera», La Ilustración artística)
Κριστίν Ντααέ/ Kristín Ntaaé (Greek Translation)
Christine Daaé (Phantom by Susan Kay)
Christine Daaé (Angel of the Opera by Sam Siciliano)
Marisa (Night Magic by Charlotte Vale Allen)
Christine Daaé (1925 Movies)
Christine DuBois (1943 Movie)
Christine Charles (1962 Movie)
Phoenix (1972 Movie)
Maria Gianelli / Elena Korvin (1983 Movie)
Christine Day (1989 Movie)
Christine Daaé (ALW Musical)
Christine Daaé (Yeston & Kopit Musical)
Christine Daaé (1998 Movie)
Christine Daaé (Leroux)
Cristna Daé (El Fantasa De «La Ópera», La Ilustración artística)
Κριστίν Ντααέ/ Kristín Ntaaé (Greek Translation)
Christine Daaé (Phantom by Susan Kay)
Christine Daaé (Angel of the Opera by Sam Siciliano)
Marisa (Night Magic by Charlotte Vale Allen)
Christine Daaé (1925 Movies)
Christine DuBois (1943 Movie)
Christine Charles (1962 Movie)
Phoenix (1972 Movie)
Maria Gianelli / Elena Korvin (1983 Movie)
Christine Day (1989 Movie)
Christine Daaé (ALW Musical)
Christine Daaé (Yeston & Kopit Musical)
Christine Daaé (1998 Movie)
| Christina Nilsson | Other Inspiration | Her Name | Daaé&Nilsson Comparative |
| Description | Little Lotte | Angel of Music | Perros-Guirec |
| Description | Little Lotte | Angel of Music | Perros-Guirec |
Christina Nilsson
Some say that the real Christine Daaé was only based on Christina Nilsson. She later signed her name Christine but normally went by Countess de Casa Miranda. While I agree many things were lifted from Nilsson's life, which I compare and contrast bellow, of that there is little doubt, but there were other elements pulled from other Opera singers at the time as well. Such as Mme. Carvalho review of her in Romeo and Juliet was lifted almost word for word for Christine's triumph as Juliet in the novel. Could it be that the Christine we know so well is just a mishmash of popular opera singers of the time, or is it possible Leroux himself obscured the identity of the real "Christine"? One thing I have not been able to track down is an Opera singer at the Opera house at the time who had a famous violinist father. This is possible the one clue that might lead to a real "Christine Daaé".
Christina Nilsson, sometimes spelled Kristina was a Swedish born operatic soprano. She was born Kristina Törnerhjelm on August 20th 1843 on a farm near Växjö, Småland Växjö, Småland to the peasants Jonas Nilsson and Cajsa-Stina Månsdotter and lived till November 20th 1921. She showed promising talent early on and teaching herself how to play the violin and flute, and sang in the peasants' fairs in Sweden with her brother. Her mother used to take her to the fairs, when she was 12, where it was said she had golden hair tied simply under a handkerchief, she played and sang people who gathered would contribute their small donations to her brother, who passed his hat around. At age 13 she was singing at Ljungby Fair when a ventriloquist, who was performing near her, found his audience stolen away by this young girl, offered her a bargain in which he offered her twenty francs to sing at his booth for the remaining eight days left of the fair. While singing for the ventriloquist her precocious talent was noticed by the district judge Tornerhielm, who took her to Madame Adelaide Valerius-Leuhusen in Gothenburg (Baroness Leuhusen). She was formerly a vocal teacher, from whom the young singer received her first lessons, and, at the same time, attended school in Halmstadt. She became her patron, enabling her to have vocal training. She was even trained by Frank Berwald for two years. In 1860, she went to Paris, accompanied by Baroness Leuhusen, and there she made her debut in Verdi's La Traviata as Violetta. She sang "Faust" at the Rue Le Peletier Opera House in 1868, but never at the Opera Garnier. She was invited to the opening of the Opera Garnier and even actually contracted to sing for that evening, but then came up with several excuses and did not come back to Paris. Her husband refused to let her sing in France at all. She became a member of the Royal Swedish Academy of Music in 1869.
After four years' study in Paris, she had her operatic début 1864 as Violetta in Giuseppe Verdi's opera La Traviata at the Théâtre Lyrique, Paris. Because of her success she even came to sing at the London, Saint Petersburg, Vienna and New York City. She also appeared at the inaugural performance for the Metropolitan Opera on October 22nd 1883 in Gounod's Faust. Nilsson was known for her beautiful bel canto technique and she was considered the rival of the most famous diva at the time Adelina Patti, the inspiration for La Carlotta. She was said to have wonderful stage presence and as able to enchant everybody. She would have been married and 38 years old in 1881, the year the story is said to take place.
Christina Nilsson helped inspire Ophelia's hysteria scene in Thomas Hamlet's opera to sound like the Swedish folk song "Näckens polska" While at the Grand Opera in Paris Ambroise Thomas had written the opera Hamlet, she said she alone personified Ophelia and he had made the role for her. It opened on March 1st at the Théâtre Lyrique and Nilsson was considered a triumph/triomphe and hailed as a revelation/révélation! The audience's enthusiasm was described as a wonderful performance was spontaneous, enormous and unrestrained.
journalist described:
«En plein 19ème siècle apparait soudainement devant nous l'héroïne scandinave de Shakespeare. L'illusion était totale, devant nous se tenait Ophelia elle-même, sortie de sa tombe réveillée d'un sommeil de plusieurs siècles.»
"In the middle of the 19th century suddenly appears before us Shakespeare's Scandinavian heroine. The illusion was complete, before us stood Ophelia herself, emerging from her tomb awakened from a sleep of several centuries."
Christina Nilsson while in America in 1881 during her stay in "Chicago she had a very unpleasant experience, both of which affairs caused some sensation at the time." ~(Nilsson as Valentine, Famous Singers of To-day and Yesterday by Henry C. Lahee, 1907) She married in Westminster Abbey to the French banker Auguste Rouzaud, who later died in 1882. In September 1885 she was contemplating retiring from the spotlight, and held a farewell concert from the balcony of Grand Hotel in Stockholm. An estimated 50,000 people gathered to hear the world famous soprano. Suddenly a rumor spread that the scaffolding on a nearby building was falling down, and panic spread in the crowd. 19 people were killed in the chaos that followed, and the dead bodies and all the injured were brought to the hotel lobby, where a horrified Nilsson met them. The Stockholm police were criticized for the way they handled the event, and Nilsson never got over the accident. She donated generously to the families of the victims.
Christina had previously met a Spanish girl in Paris named Rosita de Casa Miranda, who followed her with her entourage on Christina's American and Scandinavian tours. Christina was so taken by this little girl that she considered her her own daughter.
It is said that little Rosita herself was hoping for a union between her father and Christina. She did end up marring the little girls father on March 12, 1887, Angel Ramon Maria Vallejo y Miranda, Christina became countess of Casa Miranda. He died 1902. In correspondence, Nilsson often signed her first name as Christine, and during the last part of her life she was generally known as the Countess de Casa Miranda.
"...the success of Nilsson was extremely brilliant, her impersonation of Marguerite in "Faust" calling forth unstinted praise, and it is the opinion of many that in that part she has never been excelled. Her representation of Marguerite was that of a quiet, simple girl, full of maidenly reserve during the first three acts, a deep-natured young girl, restrained from the full expression of her feelings by every instinct of her better nature, and every rule of her daily life. This very forbearance of style made her final surrender a thousand times more impressive than is usual. It was accomplished in one wild, unlooked-for rush of sudden emotion, caused by the unexpected return of her lover. The picture which Nilsson gave of this tender, gentle girl, in the pensive, anxious joy of her first love, and in the despair and misery of her darkened life, was one over which painters and poets might well go wild with enthusiasm." ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917)
When she sang Ophelia Hysteria scene 6 men dressed in gold placed a white lilac tree before her and at the same time hundreds of violents where thrown at her feet. This moved her so much that she began to weep. Her trio scene from Don Jaun was described as divine.
Nilsson had a voice of wonderful sweetness and beauty, and possessed the most thorough skill in vocalization. She could reach with ease F in alt, and showed to advantage in such operas as "Zauberflöte." Her singing was cold, clever, and shrewd, and she calculated her effects so well, that her audience was impressed by the semblance of her being deeply moved. The eulogies of London and Paris dwelt more upon her acting than upon her singing, more upon her infusion of her own individuality into Marguerite, Lucia, and Ophelia than upon any merely vocal achievement. She was considered a dramatic artist of the finest intuitions, the most magnetic presence, and the rarest expressive powers. There was, too, a refinement, a completeness, and an imaginative quality in her acting, which was altogether unique." ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917)
She talked about her departure from the stage, stating that she would leave at the height of her glory, before her voice started to hurt her. She bid farewell to her English public in June 1888 during two performances at the Royal Albert Hall in London. The very last public performance Christina did took place in Menton, at a charity party in 1893. Her name was no where in the program, but it was rumored that Christina was to peerfrom as a surprise for the public. In the last act, the singer took a seat in the string quartet and play second violin! When the song came to an end, a thunderous applause broke out and the audience chanted her name to call her back.
At some point her husband demanded she not sing in Paris ever again so she left Paris never to return to the Paris Opera house and she sang everywhere but there.
An article written about her in POTO The Millennium Issue Collector's Edition
FB group file archive of POTO Magazine
After four years' study in Paris, she had her operatic début 1864 as Violetta in Giuseppe Verdi's opera La Traviata at the Théâtre Lyrique, Paris. Because of her success she even came to sing at the London, Saint Petersburg, Vienna and New York City. She also appeared at the inaugural performance for the Metropolitan Opera on October 22nd 1883 in Gounod's Faust. Nilsson was known for her beautiful bel canto technique and she was considered the rival of the most famous diva at the time Adelina Patti, the inspiration for La Carlotta. She was said to have wonderful stage presence and as able to enchant everybody. She would have been married and 38 years old in 1881, the year the story is said to take place.
Christina Nilsson helped inspire Ophelia's hysteria scene in Thomas Hamlet's opera to sound like the Swedish folk song "Näckens polska" While at the Grand Opera in Paris Ambroise Thomas had written the opera Hamlet, she said she alone personified Ophelia and he had made the role for her. It opened on March 1st at the Théâtre Lyrique and Nilsson was considered a triumph/triomphe and hailed as a revelation/révélation! The audience's enthusiasm was described as a wonderful performance was spontaneous, enormous and unrestrained.
journalist described:
«En plein 19ème siècle apparait soudainement devant nous l'héroïne scandinave de Shakespeare. L'illusion était totale, devant nous se tenait Ophelia elle-même, sortie de sa tombe réveillée d'un sommeil de plusieurs siècles.»
"In the middle of the 19th century suddenly appears before us Shakespeare's Scandinavian heroine. The illusion was complete, before us stood Ophelia herself, emerging from her tomb awakened from a sleep of several centuries."
Christina Nilsson while in America in 1881 during her stay in "Chicago she had a very unpleasant experience, both of which affairs caused some sensation at the time." ~(Nilsson as Valentine, Famous Singers of To-day and Yesterday by Henry C. Lahee, 1907) She married in Westminster Abbey to the French banker Auguste Rouzaud, who later died in 1882. In September 1885 she was contemplating retiring from the spotlight, and held a farewell concert from the balcony of Grand Hotel in Stockholm. An estimated 50,000 people gathered to hear the world famous soprano. Suddenly a rumor spread that the scaffolding on a nearby building was falling down, and panic spread in the crowd. 19 people were killed in the chaos that followed, and the dead bodies and all the injured were brought to the hotel lobby, where a horrified Nilsson met them. The Stockholm police were criticized for the way they handled the event, and Nilsson never got over the accident. She donated generously to the families of the victims.
Christina had previously met a Spanish girl in Paris named Rosita de Casa Miranda, who followed her with her entourage on Christina's American and Scandinavian tours. Christina was so taken by this little girl that she considered her her own daughter.
It is said that little Rosita herself was hoping for a union between her father and Christina. She did end up marring the little girls father on March 12, 1887, Angel Ramon Maria Vallejo y Miranda, Christina became countess of Casa Miranda. He died 1902. In correspondence, Nilsson often signed her first name as Christine, and during the last part of her life she was generally known as the Countess de Casa Miranda.
"...the success of Nilsson was extremely brilliant, her impersonation of Marguerite in "Faust" calling forth unstinted praise, and it is the opinion of many that in that part she has never been excelled. Her representation of Marguerite was that of a quiet, simple girl, full of maidenly reserve during the first three acts, a deep-natured young girl, restrained from the full expression of her feelings by every instinct of her better nature, and every rule of her daily life. This very forbearance of style made her final surrender a thousand times more impressive than is usual. It was accomplished in one wild, unlooked-for rush of sudden emotion, caused by the unexpected return of her lover. The picture which Nilsson gave of this tender, gentle girl, in the pensive, anxious joy of her first love, and in the despair and misery of her darkened life, was one over which painters and poets might well go wild with enthusiasm." ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917)
When she sang Ophelia Hysteria scene 6 men dressed in gold placed a white lilac tree before her and at the same time hundreds of violents where thrown at her feet. This moved her so much that she began to weep. Her trio scene from Don Jaun was described as divine.
Nilsson had a voice of wonderful sweetness and beauty, and possessed the most thorough skill in vocalization. She could reach with ease F in alt, and showed to advantage in such operas as "Zauberflöte." Her singing was cold, clever, and shrewd, and she calculated her effects so well, that her audience was impressed by the semblance of her being deeply moved. The eulogies of London and Paris dwelt more upon her acting than upon her singing, more upon her infusion of her own individuality into Marguerite, Lucia, and Ophelia than upon any merely vocal achievement. She was considered a dramatic artist of the finest intuitions, the most magnetic presence, and the rarest expressive powers. There was, too, a refinement, a completeness, and an imaginative quality in her acting, which was altogether unique." ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917)
She talked about her departure from the stage, stating that she would leave at the height of her glory, before her voice started to hurt her. She bid farewell to her English public in June 1888 during two performances at the Royal Albert Hall in London. The very last public performance Christina did took place in Menton, at a charity party in 1893. Her name was no where in the program, but it was rumored that Christina was to peerfrom as a surprise for the public. In the last act, the singer took a seat in the string quartet and play second violin! When the song came to an end, a thunderous applause broke out and the audience chanted her name to call her back.
At some point her husband demanded she not sing in Paris ever again so she left Paris never to return to the Paris Opera house and she sang everywhere but there.
An article written about her in POTO The Millennium Issue Collector's Edition
FB group file archive of POTO Magazine
Christine Nilsson
Comparative
Christine Daaé
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Christina Nilsson
(birth name Kristina Törnerhjelm) |
• According to Leroux she was 20 in 1881 making her born around 1861
Swedish born, came from Skotelof near Uppsala. Only child as far as Leroux states. |
• Born in Sweeden 1843, on a farm in Vederslöv’s parish in Sjöabal near Växjö (Småland), till family forced to leave. Eight brothers and sisters.
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• Parents Daddy Daaé, mother's name never mentioned, mother was an invalid and died when Christine was 16.
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• Parents Jonas Nilsson and Cajsa-Stina Månsdotter, poor farmers
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• Father was a bass and sang in the choir on Sunday
• Performed with her father on the violin and she sang. His fiddling was regarded as the best in all of Scandinavia. Performed at weddings and celebrations. |
• Father sung in Church (first cantor), musician, taught Christine the music alphabet and to read the staff.
• Christine performed with her brother Carl on the violin and she sang. |
• Traveled the country side with her father as a child and sang for money at fairs.
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• Traveled the country side with her father as a child and sang for money at peasants' fairs in Sweden but mostly with her brother. She taught herself how to play violin and flute.
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• Was discovered at Ljimby fair by Professor Valerius happened to hear them and immediately took them with him to Gothenburg. He help train her and provided for her education.
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• Was discovered at Ljungby fair by district Judge Tornérhjelm who saw her perform at 14 and he helped pay for vocal training. He took her to Madam Adelaide Valerius-Leuhusen in Gothenburg, provided a means for her to be educated in a boarding school, where studied music. While in Gothenburg Czech composer Bedřich Smetana became her piano teacher. At 16 she went to Stockholm to continue her education with Professor Franz Berwald.
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• Nick name, called, La petite Lotte/The Little Lotte, Little Christine, Fairy
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• Nick name "Little Christine"while traveling from fair to fair, Fairy
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Volume 13, 1892 : Christine Nilsson by J.F. Rowbotham; The Illustrated review, Volume 6 By Illustrated review 1873
• Blond hair, blue eyes, little, sweet, innocence of a 15 year old
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• Dirty blond hair when she was very young, brown as an adult, striking/piercing blue eyes, tall, not willowy. humble yet frank demeanour, seriousness and wholesomeness. Innocent and pure qualities were attributed to both her voice and person, Pre-Raphaelite looks corresponded to an idealized femininity of the great North,
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• Coloratura Soprano, supernatural beauty to her voice
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• Beautiful bel canto Opera Soprano, said to supernatural beauty to her voice, not always a critics fave one said she did not understand the depth of passion, love and suffering of a role while Carvalho did.
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• Leroux states that Christine sang at the home of The Duchess of Zurich in Switzerland. Conservatoire de Paris (sounded soulless and machine like after her father died)
• Moved to Paris with Madame Valérius, who treated her as a daughter. Stayed in Paris till she moved with Raoul. |
• Sang in Stockholm and Uppsala after which she was taken to Paris, by the sister of M. Valérius, at age 16 where she studied singing for four years. Sang in salons of the English aristocracy, where she is the idol of the duchesses. Spent limited times in Paris. Spent summer months for over a decade from 1867 on wards at either Her Majesty’s Theatre or Covent Garden.
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• Debut as Marguerite in Faust Paris Opera house January 1881? (soprano). She sung in town on occasion when invited by the Duchess of Zurich. After that magnificent performance she stopped singing society engagements and did not give an excuse for why. Some attested it to sheer dread over her triumph.
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•debut 1864 at the Théâtre Lyrique in “La Dame aux Camelias” or as Violetta in Verdi's La Traviata references differ. She was suppose to sing at the Inauguration of the Paris Opéra in 1875. No show claimed ill. Sang Faust at the Original Paris Opera (not the Opera Garnier) in 1869. Nilsson was well established singer by the time the story starts. She was in America most of 1881. Sang in opera for the last time in 1881, but appeared as Marguerite in Faust for the Metropolitan Opera House in New York inauguration 1883 and continued to sing in oratorio and concerts until 1888.
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• Appearanceat house of the Duchess of Zurich and the Paris Opera house.
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• Debut her voice in concerts in Stockholm and Uppsala Both. Appearance at the Original Paris Opera till 1974, not Palais Garnier and Théâtre Lyrique. When contract w/Théâtre Lyrique ended, went to the Académie impériale de musique (Opéra) in November 1867, contracted to sing her debut as Ophélie in Hamlet, the new opera by Ambroise Thomas in March 1868,
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• Performed in Gounod's Faust (as Marguerite) at the Palais Garnier.
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• Performed in Gounod's Faust many times (as Marguerite)
She also appeared in the Metropolitan Opera's inaugural performance on 22 October 1883 in Gounod's Faust. But never at the Palais Garnier, she never perfomed there, and never in 1881. |
• Sings trouser role Siébel from Faust (mezzo-soprano or soprano role), Siebel's Act Four aria, which had been added by Gounod in 1863, but had not been included in performances at the Palais Garnier.
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• Rarely performs trouser roles, never plaid Siébel as far as I can find
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• Born 1861 make her 20 years old in 1881
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• Born 1843 places her at 38 in 1881
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• Benefactress Madame Valérius (husband Professor Valérius was friends with Christine's father)
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• Her Patron was Madame Adelaide Valérius-Leuhusen
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• La Carlotta was Christine's rival, due to her thinking Christine and her friend's were trying to sabotage.
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• Nilsson felt that her achievements were equal to those of Patti, and justified her in regarding herself as Patti's successful rival. ~(Nilsson as Valentine, Famous Singers of To-day and Yesterday, by Henry C. Lahee, 1917)
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• Left Paris with Raoul for the North 1881 and never sang again
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• Did not sing in Paris much. Studded 4 years in Paris, debuted as Violetta in 1864 at the Théâtre Lyrique in Paris, after that she traveled quite a bit outside of France, including London, St Petersburge, Vienna and New York. Returned to Paris in 1883 fallowing the death of her Husband Rouzaud. She was contemplating retiring in 1885.
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Performed
(All perforances at the Paris Opera house) Faust, by Gounod (Siébel) (mezzo soprano), (Marguerite) (lyric soprano) Roméo et Juliette , by Gounod (Juliet) (lyric) Hamlet, by Ambroise Thomas (Ophelia) () The Magic Flute, Mozart (as Queen of the Night) () La Juive, by Fromental Halévy (as Rachel) (Dramatic soprano) . . . . . . . Otello, by Rossini (Desdemona) with Érik . |
Performed
Faust , by Gounod (Marguerite) at Place du Châtelet 1862, considered the most perfect ideal of Marguerite when she was younger. Faust , by Gounod (Marguerite) at the Metropolitan Opera's inaugural performance on October 22 1883. To bad reviews. Don Giovanni, Mozart (Donna Elvira) Hamlet, by Ambroise Thomas (Ophelia) Ophélie had been written for Nilsson she set the standard for how it should be done for years to come, youth and melancholic reverie of Ophélie; her vocal fireworks portrayed Ophélie’s fragile psyche The Magic Flute, Mozart (Queen of the Night) Guillaume Tell/William Tell, by Gioachino Rossini (Mathilde) Robert le diable (Alice) Les Huguenots (Queen Marguerite de Valois) Otello, 1871 notable performance Tamberlik as Otello, Faure as Iago, and Nilsson as (Desdemona) |
Married
• Childhood friend Raoul de Chagny • Married a count and became the Countess de Chagny •1881 Raoul and Christine ran to "la gare du Nord du Monde" Northern star to find a priest in some secluded place to hide their happiness in being married. |
Married
• Childhood friend, Peter Magnus, Anders Petter • Married French stockbroker Auguste Rouzaud, in 1872, who died in 1883 • Married a Count Casa di Miranda in 1887 and became the Countess de Casa Miranda • July 27, 1872, at 11 am, at the famous Westminster Abbey in London, Christina Nillson and Auguste Rouzaud were married. Their honeymoon was undertaken the same day to a small refuge in the Rhine Valley, between Koblenz and Stolzenfel Castle. 1883 Auguste Rouzaud died 1887 she married Angel Ramon Maria Vallejo y Miranda, Count de Casa Miranda, and would often signed her name Christine,she died in 1902. |
ref. POTO The Millennium Issue Collector's Edition, Mirelle Ribiere's translation of POTO annotated, and our own research , Christina Nilsson By Guy de Charnacé; The The Girl’s Own Annual,
Description
Daaé
was described as petit, small Her breast, which contained a sincere heart, rises gently. Her eyes, clear mirrors of pale azure, the color of lakes that dream, motionless, up there towards the north of the world, her eyes quietly bring her the reflection of her candid soul. |
Nilsson
Strong frame ~the Princess Metternich On her first visit to America, the New York Evening Mail wrote: "Her face is lit up with a joy she can not hide, what a touching apparition.The essence of her beauty lies not in the sweetness of her features, but in the ways that it expresses the human qualities that make you happy, intelligence, kindness, joy, cheerfulness, and by its features personifies a beautiful nature. Her blue eyes contribute to the expression of the tonalities that her lips can offer us. Her long, thick hair shows all the nuances of the flax. Her profile is most Greek in its purity and her mouth crowns the face like a jewel of perfection. Her nature is soft, and she is vivacious and graceful in all her movements. She presents all the glory of purity. " “I believe I prefer the Swede. She does not have the liveliness and the playfulness of Mlle Patti, she has neither her swagger nor her boldness, but such strange and penetrating poise, such a way of singing which is all her own. I have never seen an artist so completely herself. She sings less purely than Madame Carvalho, less brilliantly than Mlle Patti, but how it goes straight to your soul this small crystalline voice of timbre both sweet and piercing!” ~ Ludovic Halévy, Carnets I: 1862–1869 (Paris: Calmann-Lévy, 1935), 84: “J’hésite très sincèrement entre l’Italienne et la Suédoise, et je crois que j’aime encore mieux la Suédoise. Elle n’a “this Queen of the Night had upon her forehead the glacial glittering of the North star, and the compass immediately pointed to her. Of Italian sun, we’d had enough!” ~ Opera as an Institution "Nilsson Swindle" An editor declared that Nilsson was no singer and could not be compared with Jenny Lind, therefore she had no right to charge Lind prices. A lawsuit ensued. Her voice was pure, flexible, and true in its upper range, though weaker in the lower. As her career progressed, the high notes were lost, but she had a powerful dramatic range with which to compensate. She lost her upper voice when she got older. |
Other Possible Influences
It had been a well known fact now that Christine Nilsson was used for a lot of Christine's details, who was a very popular and well know opera singer of the time and who Gaston was said to be fond of. Over the years however I think that the real identity of Christine Daaé might be a bit more obscured and complicated then once thought. It's clear to me Leroux pulled details from a few singers not only Nilsson, to infused into his fictional version of Christine. Rather a real 'Christine' existed or not is the real question. Infusing details from Nilsson, Madam Carvalho and a few others it maybe near impossible to figure who she actually was, that is if you believe the story is true, but the details were obscured even so. Leroux only knew so much according to his own admission and had only two connections to the real Erik and Christine. Daaé letters and Daroga's narrative and was forced to make up the rest adding in details from things he knew about already and were popular during the time. For instance using real details of a very well known and popular Swedish soprano, especially someone he was familiar with, to fill in details for a character he only had so much information and back story on does not seem that far fetched. Some say it's a work of complete fiction with smatterings of truth. That is possible although goes against even what Leroux said later in life. It is also completely possible he only used certain details to buff out a person he turned into a character that he originally only knew very little on, with people who were similar and from similar backgrounds to buff out his characterization and make it more realistic. I will only provide you with evidence and some personal notes it's ultimately up to you to make up your mind.
| Marie Carvalho | Joséphine Reszké | Gabrielle Krauss , Angel of Music | Joséphine Daram |
| Pauline Lucca | Lucienne Bréval | Pauline Viardot | Mę de Courey | Marie Heilbron |
| Marie Vachot | Marie-Rôze | Marcella Sembrich, Angel of Music? | Jenny Lind |
| Pauline Lucca | Lucienne Bréval | Pauline Viardot | Mę de Courey | Marie Heilbron |
| Marie Vachot | Marie-Rôze | Marcella Sembrich, Angel of Music? | Jenny Lind |
Marie Caroline Miolan Carvalho
English
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French
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"But all the triumph had been for Christine Daaé, who had been heard first in some passages of Romeo and Juliet. It was the first time that the young artist sang this work of Gounod, which, moreover, had not yet been transported to the Opera and that the Opera-Comique had just taken again long after it had been created at the former Lyric Theater by Mrs. Carvalho. Ah! we must pity those who have not heard Christine Daaé in this role of Juliette, who have not known her naive grace, who have not shuddered with the accents of her seraphic voice, who have not felt flew away their soul with their soul above the tombs of the lovers of Verona:"
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"Mais tout le triomphe avait été pour Christine Daaé, qui s’était fait entendre d’abord dans quelques passages de Roméo et Juliette. C’était la première fois que la jeune artiste chantait cette oeuvre de Gounod, qui, du reste, n’avait pas encore été transportée à l’Opéra et que l’Opéra-Comique venait de reprendre longtemps après qu’elle eut été créée à l’ancien Théâtre-Lyrique par Mme Carvalho. Ah ! il faut plaindre ceux qui n’ont point entendu Christine Daaé dans ce rôle de Juliette, qui n’ont point connu sa grâce naïve, qui n’ont point tressailli aux accents de sa voix séraphique, qui n’ont point senti s’envoler leur âme avec son âme au-dessus des tombeaux des amants de Vérone:!"
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It was lifted from
"Juliet was plaid by Mme. Carvalho. Welcome! Never, perhaps, did the great artist find a role so admirably suited to her exquisite qualities. Do you remember this naive grace, this incomparable charm, this seraphic voice, this youth at last; then when the action became dramatic..... " ~ (Et Dramatique, Revue du monde musical et dramatique, Volumes 1-2/ Review of the Week, Musical Review, Opéra-Comique - Romeo and Juliet, lyric drama in five acts by Michel Carre and M. Jules Barbier, musicque of M. Ch. Gounod)
Elle obtint de véritables triomphes dans Faust (1859)/ She a obtained real triumphs in Faust (1859) ~(https://www.artlyriquefr.fr/personnages/Carvalho Caroline.html)
Joséphine de Reszké
She was a Polish born, blond haired, tall, coloratura soprano and sister to the bass Edouard and the tenor Jean de Reszké. She began her studies with her mother, she continued her studies with Mme. Henriette Nissen-Salomon, occasionally performed as a concert singer. She made a name for her self in St. Petersburg. She studied at the St. Petersburg conservatory then making her debut in Venice Italy in 1874 in Gomez’ Il Guarany. She was overheard by the director of the Paris Opéra, Olivier Halanzier while in Italy, who was looking for new talent. She made her Parisian debut as Ophélia in Hamlet on June 21st, 1875. The remarkable thing about this women which is what made me raise an eyebrow is some of the strange things written about her. "- her Opéra debut, for example, was in 1875 as Thomas's Ophélia. However it soon became clear that she has a voice that exceeded conventional categories and physical presence to match." (Henson) (Le Roi, Massenet) By the end of the run, after the unexpected disappearance of the lead soprano, all three siblings were on state together: Josephine as Salomé, Edouard as Phanual, and Jean as John the Baptist." (Henson). She also was in the roles of Mathilde, Rachel, Valentine, Marguerite, Isabelle and Alice in Robert le Diable, and Aida 1881. (cantabile-subito.de). "Her most memorable roles were Selika in "L'Africaine", Rachel in "La Juive", Mathilde in "Guillaume Tell", Marguerite in "Faust", Pauline in "Polyeucte" and Valentine in "Les Huguenots" (ipernity.com). She preformed in the Paris Opéra from 1875-1884, during which time she became known for her performances in Italian and French operas; she also created the role of Sita in Jules Massenet's Le roi de Lahore, which premiered in the Palais Garnier in Paris on 27 April 1877. She was in the Paris premiere of Hérodiade in 1884. At the peak of her career she married Baron Leopold Julian Kronenberg, and retired from the stage after her marriage in 1885, giving only charity performances thereafter. She died young at the age of thirty-six. "...young and robust voice, which is very beautiful. Unfortunately, this vigorous larynx (too much vibrato) is not made to sigh the tender tears of Hamlet's lover. " (She is described as having shyness and a bit of lack of restraint) "...which requires restraint, and I would say so much shyness in the emission of sound." "She has made her natural means shine, but without displaying the great style of Mademoiselle Nilsson and Mademoiselle Carvallio." ~ Chronique Musicale, Le monde illustré: journal hebdomadaire, Volume 11; Volume 19 January 20 - Mlle de Reszké replaces Mlle Krauss, Who is indisposed, in the role of Sélika de l'Africaine (Almanach des spectacles : continuant l'ancien Almanach des spectacles, 1878) Depuis le dépoart de Mlle de Reszké, Mme Krauss tient seule à l'Opéra l'emploii des Falcon; elle supporte tout le poids du repertoire. l'our seconder cette vaillante artiste, M. Vaucirbeil a fait débuter derniérement Mlle Howe dans la Juive. / Since the departure of Mlle. de Reszké, Mme. Krauss (Marie-Gabrielle) is now alone at the Opera, the employment of the Falcon; it bears all the weight of the repertoire. To assist this valiant artist, M. Vaucirbeil recently began Miss. Howe in la Juive. ! ~ref. Revue alsacienne, Volume 3 Interestingly enough Leroux states "Joseph Buquet had been found hanging in the third cellar under the stage, between a farm-house and a scene from the 'Roi de Lahore' (The King of Lahore)." Now this is an interesting fact if you go with the theory that the real 'Christine' actually performed at the opening of the Opera House in 1875, because it turns out Josephine was known for her interpretation in the role of Sitâ the priestess of Indra in Jules Massenet's Opera 'Le roi de Lahore' when it opened at the Palais Garnier in April 27, 1877. Also an interesting features she was fond of wearing crosses. She married and returned from Opera in 1885 and died at age 36. There are no known recordings of her sadly. ~ Ref wikipedia, 129-132 Opera Acts: Singers and Performance in the Late Nineteenth Century By Karen Henson, http://www.cantabile-subito.de/Tenors/The_De_Reszke_Family/the_de_reszke_family.html, http://www.ipernity.com/doc/289583/34704407 |
Les anges ont pleuré ce soir.
She was born Marie-Gabrielle Krauss (March, 24 1842 – January, 6 1906) she was a famous Austrian-born French operatic soprano. Quite an important figure of her time. Leroux states that Krauss sang ‘Les Vêpres Siciliennes’ by Verdi for the opera owners. She never sang ‘Les Vêpres Siciliennes’. ‘Les Vêpres Siciliennes’ was premiered in 1855 at the original Paris Opera, Salle Le Peletier not the Palais-Garnier which opened in 1875.
She made her Paris Opera house debut the night of the Paris Opera's inaugurating in January 5, 1875, she began the evening as Rachel in the first two acts of La Juive "The Jewess" by Fromental Halévy. She performed there again on January 8th 1875 in the full opera. Then on April 5, 1876, she originated the title role in the first world premiere at the Palais Garnier of Joan of Arc by Auguste Mermet. It ended up not being very successful and closed after only 15 performances. She was also the leading soprano at the Paris Opera for 13 years (1875-1887)
She did originate major roles in operas by Anton Rubinstein, Charles Gounod, Camille Saint-Saëns, and others she also originate the roles in Verdi and Wagner operas. She also performed Desdemona from Otello by Rossini.
She premiered the role of Pauline in Gounod's 'Polyeucte' at the Palais Garnier on 7 October 1878. It's also possible Christine's original name was a nod to Pauline (Christine Daaé's Original name in Leroux's notes) in Gounod's 'Polyeucte' which is mentioned in the novel along with Krauss.
She made her Paris Opera house debut the night of the Paris Opera's inaugurating in January 5, 1875, she began the evening as Rachel in the first two acts of La Juive "The Jewess" by Fromental Halévy. She performed there again on January 8th 1875 in the full opera. Then on April 5, 1876, she originated the title role in the first world premiere at the Palais Garnier of Joan of Arc by Auguste Mermet. It ended up not being very successful and closed after only 15 performances. She was also the leading soprano at the Paris Opera for 13 years (1875-1887)
She did originate major roles in operas by Anton Rubinstein, Charles Gounod, Camille Saint-Saëns, and others she also originate the roles in Verdi and Wagner operas. She also performed Desdemona from Otello by Rossini.
She premiered the role of Pauline in Gounod's 'Polyeucte' at the Palais Garnier on 7 October 1878. It's also possible Christine's original name was a nod to Pauline (Christine Daaé's Original name in Leroux's notes) in Gounod's 'Polyeucte' which is mentioned in the novel along with Krauss.
Angel of Music
Line from Leroux
The New Marguerite
(What the Angel of music said to Christine)
The New Marguerite
(What the Angel of music said to Christine)
“Your soul is very beautiful, my child,” replied the grave man’s voice, “and I thank you. There is no emperor who has ever received such a gift! The angels wept tonight.”
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– Ton âme est bien belle, mon enfant, reprit la voix grave d’homme et je te remercie. Il n’y a point d’empereur qui ait reçu un pareil cadeau ! Les anges ont pleuré ce soir. »
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What was said to Gabrielle Krauss
English
She sang, in German, the great area of William Tell: "Sombres forêts" "Dark forests" The old maestro was moved to tears. He saw his glory rejuvenate with a new, youthful brilliance.
. . - Ah! this is the forest that you must visit, proclaimed the impetuous Azevedo ... Listen to the harmony of these branches and flatten yourself before the immortal master! . Gabrielle Krauss was invited again to sing the Clock of Tears and the Alder King, by Schubert, then Rossini, excited, embraced the virtuoso, saying: . "Bravo, my child! You sing with your soul and your soul is beautiful! ... " (ref. Mardi 16 Janvier 1906, JOURNAL DE MONACO)
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French
Elle chanta, en allemand, le grand air de Guillaume Tell : « Sombres forêts... » Le vieux maestro Tut ému jusqu'aux larmes. Il voyait reverdir sa gloire d'un éclat tout nouveau et tout juvénile.
. — Ah ! voilà bien la forêt que vous devez visiter, clama l'impétueux Azevedo... Ecoutez l'harmonie de ces ramures et aplatissez-vous devant le maître immortel! . Gabrielle Krauss fut encore invitée à chanter l'Eloge des Larmes et le Roi des Aulnes, de Schubert, puis Rossini, enthousiasmé, embrassa la virtuose en disant : . — Bravo, mon enfant ! Vous chantez avec votre âme et votre âme est belle !... » |
Marie Joséphine Daram
(Joséphine Daram) French coloratura Soprano entered the opera in 1874 with 15000 annual francs splendid performer Debut 4 December 1874 In Les Huguenots As Urban. Sang The Following Roles At Palais Garnier Paris. La Juive (Eudoxie, 1875), Guillaume Tell (Jemmy, 1875 ; Mathilde, 1876), Les Huguenots (Marguerite, 1875), Faust (Siébel, 1875 ; Marguerite, 1877), Don Juan (Zerline, 1876), Le Freischütz (Anette, 1876), Robert Le Diable (Isabelle, 1877), L'africaine (Inès, 1877), Hamlet (Ophélie, 1878), La Muette De Portici (Elvire, 1879), Le Comte Ory (La Comtesse, 1880) Created ,agnes Sorel In "Jeanne D'arc" By Mermet 1876, Berthe In "La Reine Berthe " By Joncières 1878 , Angel Gabrielle In " La Vierge" By Massenet 1880 & Xaima In " La Tribute De Zamora" By Gounod 1881 Charles Vi - The Mezzo-soprano, Hélène Brunet-lafleur, Who Was To Sing The All-important Role Of Odette (Daughter Of Raymond), Became Ill And Eventually Withdrew. Perrin Again Stepped Into The Breach And Provided Rosine Bloch From The Opéra As Her Replacement. Marie Schroeder, Who Was Cast As Queen Isabelle, Also Became Ill And Had To Be Replaced With Joséphine Daram. The Opening, Which Had Been Announced For 16 March, Had To Be Postponed, Since Bloch Came Down With Influenza. The Opera Was Finally Performed On 5 April 1870. Roméo And Juliette -stéphano, Romeo's Page Mezzo-soprano, (Trouser Role) Joséphine Daram , Juliette -marie Caroline Miolan-carvalho Le Tribut De Zamora Is An Opera In Four Acts By Charles Gounod, Premiere At The Opéra's Palais Garnier On 1 April 1881, Xaïma - Joséphin In September 1875 she was Siebel to Mme Carvalho's Margurite, M. Gailhard was Mephistopheles Daughter of modest craftsmen, at the age of 12, she entered the conservatory of Toulouse where she obtained, in 1863 , a first prize. She continues her studies at the Paris Conservatory where the July 20, 1864 she receives the first singing prize. The January 15 1865, she debutes at the Théâtre Lyrique directed by Leon Carvalho , in the role of Cherubin (breeches role) from the Marriage of Figaro. She sings for 5 years there. Olivier Halanzier, who was the director of the new Paris Opera, hires her. She interprets the November 16, 1874 the role of the Urban page in Les Huguenots de Meyerbeer . The May 20, 1880 at the Opera, the second historic Concerts created by Auguste Vaucorbeil , then director of the Paris Opera was performed. He made The Virgin, sacred legend, by Jules Massenet. Gabrielle Krauss and Josephine Daram are the main and "very splendid" performers, according to Massenet himself . In 1880 , she sings the role of Mathilde in Guillaume Tell with Léon Melchissédec as a partner in July 5 and Jean Lassalle in September . The April 1 , 1881 , she creates the role of Xaïma in Gounod's Tribute de Zamora (en) at the Paris Opera, directed by Gounod himself.The meeting of Xaïma and Hermosa (Gabrielle Krauss), at the end of the third act, makes "a great impression." In 1881 she retires in full glory. In 1883 she married Félix Bernard, a veterinarian at the Castres artillery regiment ; henceforth, she lives retired in her native city, prematurely widowed and, during her last months, suffering from paralysis. |
Pauline Lucca
Possible influence on original name of Christine in Leroux's working nots, also possible Leroux used some of her younger life for Christine's backstory as well as buffing out her character. She was born in Vienna 1841, at age 8 she showed incredible talent for singing. She became a student of student of M. Walte at age 8 and Her parents lost their property soon after sadly she was too poor to continue her studies but sang in the Vienna State Opera chorus 1856. While in Berlin she was a notorious rival with soprano Mathilde Mallinger a rivalry which extended to their fans as well, so much so they would heckle one another. One night during a performance of The Marriage of Figaro in 1872, where Lucca was Cherubino (A breeches role just like Siébel from Faust) and Mallinger was the Countess, Mallinger supporters booed Lucca so badly that it prevented her from singing her aria. She was so upset she broke her contract with the Opera House and left Vienna for the US. She was compared to Adelina Patti who both had triumphed in the same role. Both made thier debutes at the age of 16. The composer Meyerbeer was looking for a Sélika for his Opera "L'Africaine" and heard Lucca in Prague, he had come over form Berlin just to hear her, but sadly never saw her perfrom in it before his death. But she did appear in Alice in "Roberto," Bertha in "Il Prophete," and Vielka in the "Camp of Silesia." She did finally debute the role of Sélika on July 22, 1865 England and was compared to Patti's Rosina and Nilsson's Marguerite. She was also famouse for her role in Carmen and considered one of the best. She was said to have a 2½ octaves range. In Leroux's Original working notes for Phantom of the Opera he wrote Pauline Ballini which was crossed out and Christine Daaé and written about it. ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917, Thirty Years of Musical Life in London, 1870-1900 By Hermann Klein, 1903) |
Lucienne Bréval
Birth name Berthe Agnès Lisette Brennwald a Swiss dramatic soprano born in Berlin in 1869, who's parents were from Männedorf. She first studied in Geneva where she got 1st prize for piano and went to the Paris Conservatory where she won 1st prize in singing. She had her Paris Opera House debut in 1892 in the role of Selika in L'Africaine by Meyerbeer. When Rose Caron came to sing at the Paris Opera house she became Lucienne main rival. She sang Brünnhilde to Caron's Sieglinde in la Walkyrie by Wagner. She spent most of her Opera career at the Paris Opera House. In 1897, she sang Marguerite in La Damnation de Faust by Berlioz. She refused to sing Brünnhilde in Bayreuth due to Cosima Wagner supporting her other rival Louise Grandjean as Brünnhilde in Siegfried and Twilight of the Gods. She had a 30 year opera career. |
Pauline Viardot
Pauline was born in Paris her father was a singer, singing teacher, composer and impresario. Her Father taughter her to sing and play the piano. She was a mezzo-soprano and her singing range was C3 to F6. She accompanyed by her brother-in-law, the violinist Charles Auguste de Bériot. She was renowned for her wide vocal range and her dramatic roles on stag. 1839 she plays Desdemona in Otello. She created the role of Fides in Le Prophète at the Paris Opera. In Leroux's Orginal working notes for Phantom of the Opera he wrote Pauline Ballini which was crossed out and Christine Daaé written above it. ~ ref The Art of Music: A dictionary-index of musicians By Daniel Gregory Mason |
Mę de Courey
The curious case of Mlle. Courey? She is credited to in the National Archives as playing Marguerite 1875 at the Paris Opera, which is the Inauguration year of the Paris Opera...curious. [Mę de Courey (Marguerite), Muratet (Faust), M. Bouhy (Méphistophélès), Léon Carvalho (directed by)] Faust's third act was supposed to be part of the Palais Garnier inaugural program on January 5, 1875, but apparently, the lead heroine was indisposed. Faust was withdrawn at the last minute. Faust was heard for the first time at Palais Garnier on May 30, 1875. Directed by Leon Carvalho. Charles Gounod's Faust premiered on September 6, 1875 at the Palais Garnier. Further notable revivals at the Opéra took place on 4 December 1893. ~ref. Bulgakov: The Novelist-Playwright edited by Lesley Milne That is interesting becuase the program was and critics spoke of it going on at least for a short while, I beleave I read at leats one act did go on. Could this truly be the real name and face of the real Christine Daaé? She certainly looks young, innocent, blond hair probably blue eyes and defiantly could be from the North. Problem is there is n information on her. Opera lineup for the Inauguration 1) La Juive by Halévy- (first two acts) Gabrielle Krauss as Rachel [spectacular and dazzling, great success, brilliant procession of 1st act] 2) Hamlet by Ambroise Thomas - Mlle. Nilsson (*fell sick didn't go on) & M. Faure (3rd & 4th act) 3) Faust - Mlle. Nilsson (*fell sick didn't go on) & M. Faure (Church scene) (reported to have continued on with an understudy but had to stop becuase of technical difficulties with the set?) *a soprano had fallen ill during one act from Charles Gounod's Faust and one act from Hamlet had to be omitted. December 29, but that rehearsals in the new year ran into problems: the stage rehearsal with Jean- Baptiste Faure of Faust on 1 January was cancelled due to the new scenery order from Cambon not being ready, and the general rehearsal of Faust on 3 January did not take place because Nilsson was ill. An entry for 4 January reported that Nilsson had been ordered by the Doctor Guerin to take several days rest. Since the inauguration of the new Opéra was due to take place the following day and could not be postponed, the program had to be modified. Is it possible that the event in the novel where Christine made her triumph was in reality the Inauguration night performance and Mlle. Nilsson fell ill, never showed up to the Opera that day, but because the program would have to be altered and large sets moved, is it possible, a very young and unknown singer offered to take over both Ophelia from Hamlet (changed later to Romeo and Juliet and Marguerite from Faust) becuase she knew the roles well. Yet the pressure was too much for her and she passed out from exhaustion or nerves and that is the second singer who fell ill that evening. Rather this is the truth or not, rather you believe the story is real or not this is an incredibly interesting find. ~ref Théâtre national de l'Opéra - Palais Garnier, 06-09-1875 ref. https://gallica.bnf.fr |
Marie Heilbron
Massenet and Marie Heilbron had stared together at the theater in 1869 at the Opéra-Comique. The musician had debuted Massenet's first work: La grand'tante ; the artist who was to take the leading role, Marie Roze, having been withdrawn at the last moment, was replaced by a young 17-year-old girl, Marie Heilbronn. In 1879, she made her debut at the Opéra Garnier, where she sang as Marguerite in Faust, Ophélie in Hamlet, Juliette in Roméo et Juliette. 'Juliet triumphed as much as Romeo, by her warm and penetrating voice, her grace and her beauty.' The same year she made her debut at La Scala in Milan, as Violetta in La traviata. She also appeared in Monte Carlo and St Petersburg. She began at our Opéra Garnier, in Marguerite de Faust, and, not agreeing with M. Vaucorbeil, she offered her resignation, which was accepted, after singing Zerline de Don Juan. She married, at the beginning of the year 1881, the Vicomte de La Panouse, lieutenant of the ship, and announced the intention of leaving the theater. Her husband his fortune during the "crash" of 1882. Now living apart from her husband, she contracted a new engagement at the Opera-Comique. She resumed with great success Romeo and Juliet and ended his artistic career with two of his finest creations: Manon, Massenet (1884) and A Night of Cleopatra, Massé (1885). A year later she died. 1878; Romeo and Juliet. However, she returned to the Opera-Comique to make two new important creations, one in Manon (Manon) Massenet, the other in Cleopatra's Night of Cleopatra Victor Massé, then took Romeo and Juliet. It was then that she had a disease that quickly led her to the grave. She died in Nice on March 31st, 1886. |
Marie Vachot
Not much information is available on Marie Vachot which is odd in and of its self. Halanzier highered her in 1879, she signed on a three contract and she primired at the Paris Opera in Zerline from Don Juan then Margot from Huguenots and Marguerite from Faust, 1879-1881. She went on leave to Brussels to sing Lucie, Mireille, and the Queen of the Night from Magic flute. Some sort of scandal regarding her and the Opera managers which resorted in her being excuses under the reason she was too young to play leads... A NEW PRIMA DONNA. Marie Vachot, arrived in New York Thursday, on the Amérique from Havre. Mlle. Vachot is about twenty-one or twenty-two year of age, of fair complexion and slender figure. At the age of eighteen she was engaged for the Grand Opéra of Paris, and made her début in "Les Huguenots," in the role of the Queen. She has since sung with great success in Brussels and in several of the French cities... Her voice is said to be light soprano of extended range, of great purity of tone, and possessed of the charm of clearness and freshness that youth always lends to natural vocal abilities. Brilliancy of execution has been declared to be a marked characteristic of her vocalization, and her chief triumphs have been made in such florid music as falls to the Queen in the "Magic Flute," the tile role in "Dinorah," or similar examples of operatic writing which demand range of voice and incisive clearness of execution. Her repertoire is extensive and embraces "Traviata," "Rigoletto," "Lucia," "Sonnambula," "Puritani," "Faust," "Etoile de Nord," "Dinorah," "Amieto," "Mignon" (Filina), "Ballo in Maschera," "Don Giovanni" (Zerlina), "Nozze di Figaro" (Cherubino), "Marta," "Mireille," "Romeo and Juliet, and the "Barbiere." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "Lucia," given on Saturday afternoon, was the occasion of Mlle. Marie Vachot's Boston debut. She made only a moderate success. She is a spirituelle young lady, with a sweet, flexible voice, of faire compass, and exceeding delicacy. Her intonation is perfect and her trills artistic.....On Sunday evening a concert was given at which nearly all of the artists appeared, all, in fact, except Mlle. Rosini, Mlle. Kalas, Mlle. Cabianchi and Sig. Runcio. Miss Hauk, Mille Vachot...extra..." "The Huguenots" was presented to an audience of fair proportions and much enthusiasm....Mlle. Vachot tried hard, and succeeded passable..."Faust " was revived on Wednesday evening." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "Mlle. Vachots "Lucia." "Says the critics of the New York Herald, after hearing Mlle. Vachot in "Lucia" : Marie Vachot possesses so many of the qualities necessary to make an agreeable and pleasing, if not great singer, in the sweetness of her voice, the good method of her phrasing and facility of execution , that it is a pity she should lack the one remaining but essential point which nullifies these decided merits-false intonation She is blessed with a charming stage presence, a ladylike demeanor, and good dramatic instincts; but while thease are delightful attributes, and aroused admiration and sympathy...." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "The critics of the world writes: "Mlle. Vachot, who made her first appearance as Lucia, in Donizetti's "Lucia di Lammermoor," at the Academy last night, is the happy possessor of most of the qualities necessary for the successful personation of that character. She is young and beautiful, acts gracefully and with an intelligent comprehension of the 'business' of the stage, and has a voice of ample range and flexibility for the proper delivery of the music. But unfortunately she lacks some of the greater qualifications of her predecessor in the same part, and therefor suffered by comparison. The brilliant vocalization of Mdme. Gerstor in the cavatina and in the 'mad scene,' and her intense dramatic powers which were displayed in this opera mere that in any other, are too fresh in the recollection of our opera-goers for any prima donna who is in any way inferior to her to be more than politely tolerated. Mlle. Vachet is inexperienced, and her nervousness causes her frequently to sing out of tune and resort to the objectionable vibrato, as a bad pianist resorts to the loud pedal to cover inaccuracies." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "Mlle. Marie Vachot will appear as Guiletta to the Romeo of sig. Campanini...." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "...He (Colonel Mapleson) had heard quite accidentally that a magnificent priman donna was singing there. He had scarcley been in London three hours before further information led him to start again for Paris in oder to see Mlle. Vachot, and after hearing her sing and being statisfied with her performance they has a long conversation, and terms were establised with the lady's father. The duaghter however, would not concent to go to America on account of corssing the ocean. This objection was overruled, and the father, who is a small farmer in a country place, went away to settle the thing with his wife and daughter...." (Musical Record and Review, Dexter Smith. Boston, Oct 1, 188, Issues 157-209) "...the lovely Mlle Marie Vachot and the brilliant staccati of her soprano voice were applauded, but as yet do not attract a crowd..." (Parisian Music-hall Ballet, 1871-1913, By Sarah Gutsche-Miller) "Mll. Marie Vachot, who has sung at the Paris Opera and at the present time forms part of the company of the Théâtre des Arts, of Rouen, is engaged to be married to Mr. Jouanne, second tenor of the same theater. ("Music & Drama, Volume 2," Music & Drama, vol. III.--No.1. New York, July 8, 1882 VACHOT Marie. — Soprano. Débute le 19 décembre 1879 dans LES HUGUENOTS (Marguerite). Chante DON JUAN (Zerline) et FAUST (Marguerite) en 1880. She was said to have been kissed by Gounod for her role as Marguerite. Mille. Vachot has a pure, though somewhat light, saprano voice and excellent and ample training; she phrases beautifully, and is altogether a delightful artist. (The Critic: An Illustrated Monthly Review of Literature, Art, and Life, Volume 1) |
-Jeudi dernier, au Cercle de France international, soirée musicale des plus intéressantes en l'honneur d'une jeune étoile qui se lève à l'horizon de l'Opéra. Mlle. Marie Vachot est pensionnaire de M. Halanzier, qui lui a fourni jusqu'iei les moyens de faire de bonnes études sous la direction de sa mère et du professeur Obin, un veai maitre en matière d'art lyrique.Il en fait une poetque Ophélie, à la voix cristaline s'il en fut, jouant et chantant ce grand rôle avec un véritable charme. Elle a soupiré et vocalisé de même l'ariette de Noces de Figaro et l'Abeille de la Reine Topaze. On l'a également beauoup applaudie dans ses duos avex le baryton Lauwers bissé dans les Rameaux, de Faure. Le violencelle de M. Delsart a été des plus goàtés dans plusieurs petites pièces dont le choix témoigne d'un virtuose musicien. Le professeur accompanateur Peruzzi tenait le piano.
-Last Thursday, at the Cercle de France international, a most interesting musical evening in honor of a young star rising on the horizon of the Opera. Mlle. Marie Vachot is a lodger of M. Halanzier, who has provided her until now with the means to study under the guidance of her mother and Professor Obin, an old master in the field of lyric art, who has made her a poetic, Ophelia, with a crystalline voice if ever there was one, playing and singing this great role with real charm. She sighed and vocalized the aria from Noces de Figaro and the Bee of Queen a La Reine Topaze. She was also much applauded in her duets with the baritone Lauwers bissé in Les Rameaux, by Faure. M. Delsart's violence was very tasteful in several small pieces, the choice of which testifies to a virtuoso musician. The piano was held by the teacher-accompanist Peruzzi. (ref Le Ménestrel: Journal du Monde Musique, Musique et Théatres Dec 1, 1878- Nov, 30 1879) The talent of Mlle. Marie Vachot in several fragments of the role of Ophelia of Hamlet (ref Le Ménestrel: Journal du Monde Musique, Musique et Théatres Dec 1, 1878- Nov, 30 1879) ...Next Saturday, March 31, in the church of Notre-Dame de Lorette, at 11:00 am. at half past one, the wedding of the charming Mlle. Marie will be celebrated. Vachot with M. Alfred Jouanne, artist from the Théâtre des Arts de Rouen... ... The day before, Hamlet had been given at the same theatre: Mlle. Marie Vachot sang the role of Ophelia for the last time before her wedding, to the sound of applause from the entire audience. In the fourth act, the subscribers offered her a superb bouquet of white lilacs... (Le Ménestrel Journal du Monde Musique, Musique et Théatres, 1882-1883) "Les autres parties de ce concert ont valu le Meilleur secces a Mlle. Marie Vachot/The other parts of this concert were awarded the Best Secces a Mlle. Marie Vachot" (Le Ménestrel: journal du monde musical, musique et théâtres, Volume 45) From Toulouse, we have received news from a young artist whom we only glimpsed in Paris, and who has just met an enthusiastic welcome there. Mlle. Marie Vachot has sung at the Théâtre du Capitole, the Barber of Seville, Lucie de Lammermoor, Faust, and at each of the auditions she has given, the public has given her standing ovations. The people of Toulouse expressed the hope that Mlle. Marie Vachot would remain with them until the end of winter; they were convinced that her performance would raise their theatrical season, which had been compromised by the actions of a deplorable administration. As for us, since a new star appears in the musical horizon, we are informing the Parisian directors so that they will not let her shine abroad. We know, in fact, that predictions have already been made to Mlle. Marie Vachot to take the Italian career. (Le Figaro, January 10, 1881) We learn of the death of Mr. Jules-Henri Vachot, father of Miss Marie Vachot (now Mrs. Jouanne) who is singing at the Théâtre des Arts in Rouen. Mr. Vachot was 66 years old. He died last night at his home, rue Laval, n17, of intestinal cancer. (Le Figaro, February 29, 1884) |
Marie-Rôze
Maria Hippolyte Ponsin was a French operatic soprano. She was born in Paris. At the age of 12, she was sent from France to be educated in England for two years. She then moved back across the Channel to study with Mocker and Auber at the Paris Conservatoire, where she received the first prize in singing in 1865. That same year, at the age of 16, she made her debut at the Opéra-Comique. Her success there led to engagements with the Paris Opéra. Bizet wrote the opera Carmen with Marie Roze in mind, but she refused to create the role because she felt it too "scabrous". In early 1875 she sang in Elijah with George Bentham, Antoinette Sterling and Myron W. Whitney at the Royal Albert Hall. "....Maria Roze was the possessor of great personal attractions, and in her early days was once so pestered by an admirer that she sought the protection of the police. The aggressive youth, a French gentleman who had threatened to destroy her beauty with vitriol unless she favored his suit, attempted one night to scale the wall and enter her window. The guard fired and the misguided young man dropped dead." ~(Famous Singers of To-day and Yesterday by Henry C. Lahee, 1917) |
Marcella Sembrich (Angel of Music?)
It's possible Leroux used some of her younger life for Christine's backstory as well got the idea for the Angel. Born Prakseda Marcelina Kochańska in 1858. She was a Polish coloratura soprano. She was known for having an extensive range, 2 1/2 octaves. In 1880, she was known to be quite the star, she even had perfected the style of bel canto under Lamperti the younger. Known for her precise intonation, charm, portamento (sliding form one not to another), vocal fluidity, and impressive coloratura. Her voice was said to be flute-like, sweet, pure, and light. She studied violin and piano with her father and became an accomplished pianist, violinist, and singer. She earned money to suppoer her family as well as pay for her studdies by playing for nobilty's paries. She was beloved by the locals and would often playin the town center. Dziadek Lanowitch, and elderly man, heard her at 10 and taking a liking to her sent her to Lemberg Conservatory. She pursue studies in Vienna and Milan. In 1875 she began her studies at the Vienna Conservatory, studying voice with Joseph Hellmesberger Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. At 17, in Vienna, Stengel took her to performpaino, violin, and sang for Franz Liszt in Weimar. Liszt compleatly enchanted by her brilliant voice, encouraged her to develop her skills "My little angel, God has given you three pairs of wings with which to fly through the country of mu-sic...but sing, sing for the world, for you have the voice of an angel." ~ (From Johnson's Kids to Lemonade Opera: The American Classical Singer Comes of Age, By Victoria Etnier Villamil 2004), & partly quited in (The Biograph and Review, Volume 2, by E.W. Allen, November 21, 1897) in 1879 she went to Minlan "Lamperti seems to take great interest in me, and promised to help me if I would only have confidence in him and work hard. He gave me unusual opportunities. I had no regular hours of study with him. I spent all my day from eleven o'clock in his studio. He would give me a little time here and there, let me listen to his instruction of his other pupils, and then, at the piano, impress upon me the faults and excellencies of some of the pupils he had been teaching...." At 19, she debuted in Athens, and sang Elvira I Puritan by in Vincenzo Bellini, and four more operas, as well as Lucia di Lammermoor by Gaetano Donizetti. By 22 she was dubbed the "Polish Patti", and created a sensation in London's Covent Garden. She was Violetta in La Traviata, Zerlina in Don Giovanni and the Queen of the Night from The Magic Flute. Ref https://www.shigovoicelessons.com/voicetalk//2013/04/the-lamperti-lineage-marcella-sembrich.html |
Here her sing I Puritani by Vincenzo Bellini Here
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Jenny Lind
It is possible she inspiered Leroux a little, I feel I should mention her anyway. She was a Swedish opera singer, who was often refered to as " The Swedish Nightingale." She was said to have a 2 octive range. Born Johanna Maria Lind in Stockholm, Sweden 1820. She came from a humble upbringing as was the illegitimate daughter of Niclas Jonas Lind a bookkeeper, and Anne-Marie Fellborg a schoolteacher. When Lind was 9 a maid of Mademoiselle Lundberg over heard her and brought news of it back to her, who helped her get into the acting school of the Royal Dramatic Theatre. She started singing on stage at 10. By 20 she was a member of the Royal Swedish Academy of Music and court singer to the King of Sweden. Her voice be came badly damage from being untrained, Manuel García a singing teacher was able to save her voice however. She studied in Paris from 1841-1843. Giacomo Meyerbeer a faithful admirer of her's got her an audition at the Opera in Paris, they rejected her. Hans Christian Andersen me her while she was touring in Denmark in 1843 and fell in love with her. They became good friends, but she did not return the authors love. It is believed that she inspired 3 of his fairy tales, Beneath the Pillar, The Angel and The Nightingale. He even said that "No book or personality whatever has exerted a more ennobling influence on me, as a poet, than Jenny Lind. For me she opened the sanctuary of art." She sang for charity concerts. She announced her retirement in her 20s, the reason was never confirmed. She refused any request for her to appear in opera, although she continued to perform in the concert hall. She stoped perforing all to gether in 1883. (ref Hans Christian Andersen's Interest in Music, The Musical Quarterly, Vol. 16, No. 3 (July 1930), pp. 322–329, by Gustav Hetsch and Theodore Baker, Mdlle. Jenny Lind, The Illustrated London News, 24 April 1847, p. 272) |
What's in a name?
Christine Daaé
this adorable child from the North, whose real name I've hidden under that of Christine Daaé...
[cette adorable enfant venue du Nord, dont j’ai caché la véritable nom sous celui de Christine Daaé...]
~ (Gaston Leroux's Notes published Le Fantôme de l’Opéra, edited by Robert Laffont)
[cette adorable enfant venue du Nord, dont j’ai caché la véritable nom sous celui de Christine Daaé...]
~ (Gaston Leroux's Notes published Le Fantôme de l’Opéra, edited by Robert Laffont)
Pauline Ballini
From a page of Leroux's notes for Le Fantôme de l'Opéra is seems Christine Daaé orginally had a diffarent name, the name Pauline Ballini is crossed out and Christine Daaé Christine Daaé is written above it. Hiting that Christine nor Daaé was not her real name nor orginal name and that she wasn't just strickly based off of Christina Nilsson. It's Possible he got the name Pauline from the opera singer Pauline Lucca or Pauline Viardot. It is also possible he got Ballini from Italian composer Vincenzo Bellini. It's interting I wonder if he orginally had intended Chistine to be Italian. |
Historical Daae
The name Daae is a Danish and Norwegian surname. The Norwegian Historian Ludvig Ludvigsen Daae (1834-1910) who was professor at the University of Oslo for over 30 years and died in Kristiania now knwon as Oslo. Clearly the name does exist and is Norwegian and Danish in orgin.
The name Daae is a Danish and Norwegian surname. The Norwegian Historian Ludvig Ludvigsen Daae (1834-1910) who was professor at the University of Oslo for over 30 years and died in Kristiania now knwon as Oslo. Clearly the name does exist and is Norwegian and Danish in orgin.
Dahè
Some say Christine Daaé was Christine Dahè (alt spelling Dahe) there is evidence there was a Christine Dahe. Archive reviels. One was born 1920 too late and one was born in 1895 location North Dakota neither pans out. Serouse doubts that this was her real name mainly becuase Leroux orginally intended Christine's name to be Pauline Ballini.
If you have found any info email the theater.
Some say Christine Daaé was Christine Dahè (alt spelling Dahe) there is evidence there was a Christine Dahe. Archive reviels. One was born 1920 too late and one was born in 1895 location North Dakota neither pans out. Serouse doubts that this was her real name mainly becuase Leroux orginally intended Christine's name to be Pauline Ballini.
If you have found any info email the theater.
Daae
The last name Daaé possibly came from Hans Christian Andersen's 'Vinden fortæller om Valdemar Daae og hans Døttre' 'The Wind Tells
translation here
It's a story about a 17th-century Danish nobleman Valdemar Daae his wife Lady Daae who sings and plays the harp and their 3 daughters. He ends up destroying his estate. "the noble mistress turning the spinning wheel among her maidens in the great hall. She played upon the lute and sang, though not always the old Danish songs but songs in foreign languages."
"But when I rose up that same night, the highborn lady had laid herself down, never to rise again. That had come to her which comes to all men; that is nothing new. Grave and thoughtful stood Valdemar Daae; he seemed to be saying, 'The proudest tree may be bowed, but not broken.' The daughters wept, and all eyes in the mansion had to be dried. Lady Daae had passed on -"
"they all laughed at the wild protests of the birds - all but the youngest, Anna Dorothea. She was a tenderhearted child, and when an old half-dead tree, on whose bare branches a black stork had built his nest, was to be cut down,it saddened her so to see the helpless young ones thrusting their heads out in the terror that she begged with tears in her eyes that this one tree be spared. So the tree with the black stork's nest was left standing."
"Anna Dorothea, the pale hyacinth, was still a very quiet child of fourteen, with large, thoughtful blue eyes, and the smile of childhood still lingering on her lips. Even if I could have I would never have blown that smile away. I met her in the garden, in the narrow lane, or in the fields, gathering herbs and flowers for her father to use in the wondrous potions and mixtures he used to prepare."
ref. wiki *Mentions of a Mademoiselle Valerius *ref. Appletons' Journal of Literature, Science and Art, Issues 66-92, Christina Nilsson [Volume 4, Issue 79, Oct 1, 1870; pp. 398-400] by Austin, George L.], Mirelle Ribiere's translation of POTO annotated
The last name Daaé possibly came from Hans Christian Andersen's 'Vinden fortæller om Valdemar Daae og hans Døttre' 'The Wind Tells
translation here
It's a story about a 17th-century Danish nobleman Valdemar Daae his wife Lady Daae who sings and plays the harp and their 3 daughters. He ends up destroying his estate. "the noble mistress turning the spinning wheel among her maidens in the great hall. She played upon the lute and sang, though not always the old Danish songs but songs in foreign languages."
"But when I rose up that same night, the highborn lady had laid herself down, never to rise again. That had come to her which comes to all men; that is nothing new. Grave and thoughtful stood Valdemar Daae; he seemed to be saying, 'The proudest tree may be bowed, but not broken.' The daughters wept, and all eyes in the mansion had to be dried. Lady Daae had passed on -"
"they all laughed at the wild protests of the birds - all but the youngest, Anna Dorothea. She was a tenderhearted child, and when an old half-dead tree, on whose bare branches a black stork had built his nest, was to be cut down,it saddened her so to see the helpless young ones thrusting their heads out in the terror that she begged with tears in her eyes that this one tree be spared. So the tree with the black stork's nest was left standing."
"Anna Dorothea, the pale hyacinth, was still a very quiet child of fourteen, with large, thoughtful blue eyes, and the smile of childhood still lingering on her lips. Even if I could have I would never have blown that smile away. I met her in the garden, in the narrow lane, or in the fields, gathering herbs and flowers for her father to use in the wondrous potions and mixtures he used to prepare."
ref. wiki *Mentions of a Mademoiselle Valerius *ref. Appletons' Journal of Literature, Science and Art, Issues 66-92, Christina Nilsson [Volume 4, Issue 79, Oct 1, 1870; pp. 398-400] by Austin, George L.], Mirelle Ribiere's translation of POTO annotated
Little Lotte
`When I am in Heaven, my child, I will send him to you.' Well, Raoul, my father is in Heaven, and I have been visited by the Angel of Music." ~5 The Enchanted Violin
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In the story of The Phantom, there is a poem called "Little Lotte" Gaston Leroux borrowed from another poem when he wrote it into the story. Andreas Munch a Norwegian poet was the author of Little Lotte. It came from a collection of Scandinavia Poetry he and Jean-Louis Runeberg wrote called 'Le roi Fialar' or 'King Fialar' is the tale of the king on the mountain lake. There also a musical treatments of Munch’s poem. It was translated into German, Swedish, and English. Leroux’s source was actually a from a French prose translated by Hippolyte Valmore, Garnier frères, 1879, cycle des Récits de l’enseigne Stal/Stal's Storytelling Cycle «Den første Sorg» or "The First Sarrow"
'Le roi Fialar' Contains sixteen of the stories of the sign bearer Stôle, the poetic stories La Veille de Noël, Hanna and Le Roi Fialar as well as sixteen short poems. Eleven poems by other Swedish-speaking authors from Finland complete the collection. In this translation, according to the customs of the time, all proper nouns have been francized in order to adapt them to the rules of French pronunciation.
If you wish to learn read about Little Lotte click here
There also are musical treatments to it. It was also a parlor game of the same name. Leroux’s source was actually a French prose translation of Munch’s poem done by Hippolyte Valmore, published in 1879
***All the credit goes to Anea aka Operafantomet for finding the original poem and telling us about it I am simple compiling information.***
'Le roi Fialar' Contains sixteen of the stories of the sign bearer Stôle, the poetic stories La Veille de Noël, Hanna and Le Roi Fialar as well as sixteen short poems. Eleven poems by other Swedish-speaking authors from Finland complete the collection. In this translation, according to the customs of the time, all proper nouns have been francized in order to adapt them to the rules of French pronunciation.
If you wish to learn read about Little Lotte click here
There also are musical treatments to it. It was also a parlor game of the same name. Leroux’s source was actually a French prose translation of Munch’s poem done by Hippolyte Valmore, published in 1879
***All the credit goes to Anea aka Operafantomet for finding the original poem and telling us about it I am simple compiling information.***
Little Lotte
Phantom of the Opera
From Le Fantôme de l'Opéra
« La petite Lotte pensait à tout et ne pensait à rien. Oiseau d’été, elle planait dans les rayons d’or du soleil, portant sur ses boucles blondes sa couronne printanière. Son âme était aussi claire, aussi bleue que son regard. Elle câlinait sa mère, elle était fidèle à sa poupée, avait grand soin de sa robe, de ses souliers rouges et de son violon, mais elle aimait, par- dessus toutes choses, entendre en s’endormant l’Ange de la musique. » |
From the Phantom of the Opera
"Little Lotte thought of everything and thought of nothing. She was a summer bird, soaring in the golden rays of the sun, wearing on her blonde curls her spring crown. Her soul was as bright, as her clear blue eyes. She cuddled her mother, was faithful to her doll, took great care of her dress, her red shoes and her violin, but above all she loved to hear the Angel of Music as she fell asleep." |
Little Lotte
Danish (orginal) & English
Barnets første sorg, (Original text)
Den lille Lotte tenkte på alt og ingenting Som en sommerfugl hun svevet i solens gull omkring I sine gule lokker hun vårens krone bar Og hennes blikk var himmelens, så lyseblått og klart som hendes blik var sjælen saa lyseblaa og klar. Hun kjelte for sin moder og var sin dukke tro Hun så på sine kleder og sine røde sko Men over alle elsket hun dog en liten fugl Som faren hadde fanget på sneen siste jul Den satt og frøs ved vinduet i vinterkulde og vind Og så så bønnlig just i den varme stuen inn Da strødde faren korn ut og lokket den inn Og Lotte la den varlig imot sitt varme kinn Og Lotte var lykksalig, alene fikk hun lov Å pleie og å passe den lille gjest fra skov Hun brakte den sin føde og kysset den i blund Snart lærte den å spise fra hennes røde munn Den kjendte hendes stemme og hendes lette gang Og takked’ sin veninde med mangen lystig sang. Tilsidst da sad den traurig og stille i sit bur, Den hørte vaaren kalde fra grønne skognatur. Da slog den ud med vingen og vilde fly sin vei; Men lille Lotte smilte - ak, hun forstod den ei. Hun lukked’ buret sikkert, hun gav den vand og frø; Men fuglen vil kun frihed, hvis ikke maa den dø. En morgen løb hun tidlig til fuglen ud med mad Og jubled’ høit paa veien og var saa sjæleglad; Men, da hun kom til buret, da glemte hun sin sang, Den kjære fugl laa udstrakt paa bunden stiv og lang. Hun tog den ud forsigtig og kyssed’ den saa ømt; Men den blev kold og livløs, - det var ei blot paa skrømt, Dens hoved sank tilbage, i øiet døden laa, Da slap hun den forskrækket og stirred’ taus derpaa. Og, som hun stod der stille, hun blev saa underlig, For hendes klare øie en taage lagde sig, Den søde barndoms-rødme fra hendes kinder veg, Og langsomt op fra hjertet en dunkel smerte steg, Hun kunde ikke vide, hvad denne smerte var; Men sorg i hendes hjerte sin første rune skar Og præged’ dybt sit biled i hendes bløde træk. Nu flød den ikke mer med den sidste taare væk. Hun tænkte paa sin moder, men ei saa let som før, Og nye verd’ner dærmed’ bag sorgens sorte slør: Thi som et blik paa havet fra kystens mørke borg Saa livets udsigt aabnes ved barnets første sorg |
The First Sorrow of the Child by Andreas Munch
Little Lotte thought of everything and nothing Like a butterfly she flew about in the gold of the sun On her golden curls she wore the crown of spring And her eyes were heaven's, so light blue and clear As her gaze was the soul so light blue and clear. She cared for her mother and was faithful to her doll She looked at her clothes and her red shoes But above all she loved a little bird That her father had caught in the snow last Christmas It sat by the window, freezing, in the winter’s cold and wind And pleadingly it looked into the warm room within Then her father put out grain to tempt it to come in And Lotte gently put it against her warming cheek And Lotte was so happy, she alone was allowed To nurse and to care for the little guest from the forest She brought the bird food and kissed it to sleep Soon it learned to eat from her red lips It knew her voice and her light step And thanked her friend with many a merry song. In the end it sat sad and still in its cage, It heard spring calling from the green forest Then it spread it wings and wanted to fly away; But little Lotte smiled - alas, she did not understad. She closed the cage securely, she gave it water and seed; But, the bird only wanted freedom, if not it would die. One morning she ran early to the bird with food And laughed loudly on the way and was so soulful; But when she came to the cage, she forgot her song, For the dear bird lay stretched out on the bottom stiff and long. She took it out carefully and kissed it so tenderly; But it remained cold and lifeless, - it was not in pretence, Its head sank back, in the eyes lay death, Horrified, she let go of it, and stared silently at it. And, as she stood there silent and still, she became so strange Before her bright clear eyes a fog settled The sweet childhood blush faded from her cheeks And slowly from her heart a dark pain rose. She could not know, what this pain was; But sorrow had written its first rune in her heart And marked its image deep on her soft features No longer did it disappear with her last tear She thought of her mother, but not as lightly as before, And thus new worlds dawned behind the black veil of grief: Like a look at the sea from the dark fortress of the coast So the possibilities of life are revealed by the child’s first sorrow. |
It's clear the bird singing and dying is an allegory to the story of Christine and Érik. Meaning there is a bit of hidden context in the theme. And angel or anything like an Angel does not exist in the orginal poem. This is not the only insperation for the Angel of Music. It's clear when the little girl first meets the bird it makes her very happy it sings for her and she sings back. Her soul is light, but once death relatives itself to the childlike innocents a fog comes over her eyes clouds her once innocent soul. Much like when Christine with the soul of a child, who pulls the mask off Erik, to kiss him during the singing Othello and she sees he is actually made up of death and he is not the angel her father promised would come, her soul changes. An odd pallor comes over he skin, she begins to shake, for death has now entered into her once pure and innocent soul forcing her to grow up. However it's a slight allegory nothing more. We need to investigate more to better understand the ledgened of the Angel of Music.
Little Lotte
French & English
(the version Leroux read as well as Papa Daaé)
'Le roi Fialar'
Le premier chagrin d’un enfant La Petite Lotte pensait à tout et ne pensait à rien. Oiseau d’été, elle planait dans les rayons d’or du soleil, portant sur ses boucles blondes sa couronne printanière. Son âme était aussi claire, aussi bleue que son regard. . Elle câlinait sa mère, elle était fidèle à sa poupée, avait grand soin de sa robe et de ses souliers rouges ; mais elle aimait par-dessus toutes choses un petit oiseau que son père avait pris sur la neige, à Noël. . L’oiseau était sur le bord de la fenêtre, transi par le froid et par le vent de l’hiver. Il regardait, comme en suppliant, l’intérieur de la chambre bien chaude. Le père alors répandit du grain devant lui, l’attira puis le prit dans sa main pour lui assurer les soins et la sécurité. . C’est Lotte qui fut heureuse ! Elle eut la permission de soigner, toute seule, et d’entretenir le petit hôte des bois. Elle lui apportait sa nourriture, le berçait pendant son sommeilet lui apprit bien vite à piquer le grain dans ses lèvres vermeilles. . . Lui, reconnaissait sa voix et son pas léger, et remerciait son amie par plus d’un chant joyeux. Bientôt cependant il devint silencieux et triste dans sa cage : il entendait le printemps l’appeler au fond des bois. . Alors il étendait ses ailes et voulait suivre la voie que Dieu lui avait tracée. Petite Lotte souriait ; elle ne comprenait pas. Elle fermait la cage plus solidement encore et donnait de l’eau et du grain à son ami ; mais il ne voulait que la liberté sans laquelle il renonçait à vivre. Un matin, de bonne heure, elle courut vers l’oiseau avec la nourriture fraîche ; elle chantait en courant et se sentait l’âme ravie. Mais quand elle fut devant la cage, sa chanson cessa tout à coup... Le cher oiseau allongé, raidi, gisait sur le sol. . Elle le releva avec précaution, le baisa tendrement, mais il resta froid et inanimé : il n’y avait pas à s’y tromper ; sa tête retombait en arrière, la mort était dans ses yeux... Lotte effrayée le laissa glisser et demeura immobile et silencieuse. . Et comme elle restait là muette, elle était très singulière à regarder. Une larme se montra dans ses yeux claies, la tendre rougeur de l’enfance disparut de ses joues ; une douleur sourde pénétra peu à peu jusqu’à son âme. . Elle ne pouvait deviner ce que c’était que cette douleur..., mais le chagrin gravait son premier rune sur son cœur ; il imprimait profondément son image sur les traits délicats de l’enfant, et cette image ne s’effaça plus avec la dernière larme. . Elle pensa à sa mère... non plus avec la même frivolité d’hier ; mais un crêpe noir tombait sur l’aurore d’un jour nouveau ; car de même qu’à sa première traversée, il arrive qu’un éclair soudain dévoile au jeune matelot, sur une côte obscure, un borg tout à l’heure perdu dans l’obscurité, ainsi le premier chagrin de l’enfant lui révèle un nouvel aspect de la vie. Recueilli dans Le roi Fialar,
Collected in King Fialar Garnier Frères translated Andreas Munch in 1879 |
'The First Sorrow'
A Child's First Sorrow Little Lotte thought of everything and thought of nothing. A summer bird, she hovered in the golden rays of the sun, wearing her spring crown on her blond curls. Her soul was as clear as her blue eyes. . She cuddled her mother, was faithful to her doll, took great care of her dress and red shoes; but above all she loved a little bird that her father had rescued from the snow at Christmas. . . The bird was standing on the window sill, chilled by the cold and the winter wind. It looked, in pleadingly, into the warm room. The father then scattered grain in front of him, lured him out and took it in his hand for care and safety. . . It was Lotte who was happy! She was allowed to take care of the little guest from the woods, all by herself. She brought him his food, rocked while he slept, and soon taught him to eat grain from her ruby lips. . . He recognized her voice and her light step, and thanked his friend with more than one joyful song. Soon, however, he became silent and sad in his cage: he could hear spring calling him deep in the woods. . Then he spread his wings and wanted to follow the path that God had laid out for him. Little Lotte smiled; she did not understand. She closed the cage even tighter and gave her friend water and grain, but he only wanted freedom without it he could not live. . . One morning, early in the morning, she ran towards the bird with fresh food; she sang as she ran and felt her soul enraptured. But when she was in front of the cage, her song suddenly stopped... The dear bird lay, stiffened, on the ground. . She carefully raised him up, kissed him tenderly, but he remained cold and lifeless: there was no mistaking it; his head fell back, death was in his eyes... Lotte, frightened, let him slide out of her hand he remained motionless and silent. . And as she stood there mute, she had a very strange look about her. A tear appeared in her sunken eyes, the tender blush of childhood disappeared from her cheeks; a dull pain penetrated little by little into her soul. . She could not guess what that pain was..., but sorrow engraved its first rune on her heart; it imprinted its image deeply upon the delicate features of the child, and that image did not faded even with the last tear. . She thought of her mother ... no longer with the same lightheartedness of yesterday; but a dark shadow fell on the dawn of a new day; for just as on ones first crossing, it happens that a sudden flash of lightning reveals to a young sailor, on a dark coast, a borg vessel that was lost in the darkness untill now, and so the child's first sorrow reveals a new aspect of life. |