Paul de Saint-Victor
In Leroux he mentions a critic by the name of P. de St-V.
Christine sobbed and fainted in the arms of her co-actor. He had to carry her to her dressing. It had seemed as though she had died. The great critic P. de St-V. preserved the memory of this unforgettable and marvelous experience, in a newspaper column in which he aptly entitled ‘The New Marguerite.’ He was a great artist in his own right, so he recognized her talent and discovered like everyone else did that night that this beautiful and sweet child had brought a little more then just her singing to the Opera’s stage that evening, that is to say, she brought heart and soul as well. All frequent Opera goers was not ignorant to the fact Christine’s heart had remained as pure as a fifteen year old’s, and P. de St. V. declared that “in order to understand what just happened with Daaé, He had to imagine that she had fallen in love for the first time! I may be being a bit intrusive, he added, but love alone is not capable of such a miracle of voice, nor such a shocking transformation. Two years ago was the first time Christine Daaé was heard in a competition at the Conservatoire, and she gave so much delightful promise. Where did this sublime voice come from? If she did not come down from heaven on the wings of love, then one must think she has risen from hell and that Christine, like the singer Ofterdingen has made a pact with the Devil himself! One must have to hear Christine sing the final trio truly experienced Faust. The righteous exaltation of her voice and the sacred intoxication of a pure soul cannot be equaled!” ~A New Marguerite, Phantom of the Opera, By Gaston Leroux
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Originally I was having a hell of a time tracking down this critic, which I had a feeling was a real person simple because the initials seemed too complicated to be made up. While I was researching Mme. Carvalho for the influence she gave to both Christine and La Carlotta I found a critic by the name of M. Paul de Saint-Victor who had written about her as Marguerite, in Huguenots. November 11, 1868 "Her accession," said M. Paul de Saint-Victor, "to the great stage where she has come to reign has been a long ovation...." I couldn't believe it there he was. Paul de Saint-Victor making his initials (P de St-V.). There it was.
He wrote a of reviews of Mme Carvalho "Mme Miolan-Carvalho sings and sings with the spirit of a fairy and the purity of a virgin her double role of old and young woman. "
Paul-Jacques-Raymond Binsse de Saint-Victor, who also went by Paul de Saint-Victor (July 11, 1827- July 9, 1881), was a French cultural figure, critic and author. He started out as a drama critic in 1851. He was considered a historian of the world arts. "Saint-Victor uses the gifts of an imagination which colors everything and of an erudition which penetrates everything." ~(Le Gaulois, July 13, 1881)
He wrote : "Imagine a masterpiece by Corneille coming out, at the Comédie Française, half a century of oblivion, coming back to life and breathing through the voice of an admirable performer; This is the effect that has just produced at the Théâtre Lyrique the cover of Gluck's Orphée"~(‘Théâtre Lyrique: Orphée’, La Presse, November 27 1859)
He was made inspector-general of fine arts in 1870. Sadly he died before the publication of Les Deux Masques/The Two Masks, in which he intended to survey the whole of ancient and modern dramatic literature.
Concerning the rising from hell and making a packed with the devil. May have come from.
"Paul de Saint-Victor exclaimed that she had the devil in her feet and body"
Paul de Saint-Victor s'écria qu'elle avait le diable aux pieds et au corps
(from said about Mlle Léontine Beaugrand)
ref http://www.artlyriquefr.fr/personnages/Carvalho%20Caroline.html
He wrote a of reviews of Mme Carvalho "Mme Miolan-Carvalho sings and sings with the spirit of a fairy and the purity of a virgin her double role of old and young woman. "
Paul-Jacques-Raymond Binsse de Saint-Victor, who also went by Paul de Saint-Victor (July 11, 1827- July 9, 1881), was a French cultural figure, critic and author. He started out as a drama critic in 1851. He was considered a historian of the world arts. "Saint-Victor uses the gifts of an imagination which colors everything and of an erudition which penetrates everything." ~(Le Gaulois, July 13, 1881)
He wrote : "Imagine a masterpiece by Corneille coming out, at the Comédie Française, half a century of oblivion, coming back to life and breathing through the voice of an admirable performer; This is the effect that has just produced at the Théâtre Lyrique the cover of Gluck's Orphée"~(‘Théâtre Lyrique: Orphée’, La Presse, November 27 1859)
He was made inspector-general of fine arts in 1870. Sadly he died before the publication of Les Deux Masques/The Two Masks, in which he intended to survey the whole of ancient and modern dramatic literature.
Concerning the rising from hell and making a packed with the devil. May have come from.
"Paul de Saint-Victor exclaimed that she had the devil in her feet and body"
Paul de Saint-Victor s'écria qu'elle avait le diable aux pieds et au corps
(from said about Mlle Léontine Beaugrand)
ref http://www.artlyriquefr.fr/personnages/Carvalho%20Caroline.html
The Mysterious X. Y. Z.
Enchanted violin X. Y. Z add and new marge add
English
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French
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The Phantom of the Opera
Leroux
Leroux
(The Enchanted Violin)
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(Le violon enchanté)
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....and here is how the great critics X. Y. Z., who was among the distinguished guests, expresses himself on his account:
. “When you hear her in Hamlet, you have to wonder if Shakespeare himslef came from the Élysées Fields to help her rehearse Ophélie... It is true that, when the star tiara of the Queen of the Night, Mozart, for this role, must leave the eternal abodes to come and hear her. But no, he does not have to bother, because the sharp and vibrant voice of the magical interpreter of his Magic Flute comes to find him in Heaven, which she climbs with ease, exactly as she knew, without effort, to go from her cottage in the village of Skotelof to the palace of gold and marble built by M. Garnier. " |
...et voici comment le grand critique X. Y. Z., qui se trouvait parmi les invités de marque, s’exprime sur son compte :
. « Quand on l’entend dans Hamlet, on se demande si Shakespeare est venu des Champs-Élysées lui faire répéter Ophélie… Il est vrai que, quand elle ceint le diadème d’étoiles de la reine de la nuit, Mozart, de son côté, doit quitter les demeures éternelles pour venir l’entendre. Mais non, il n’a pas à se déranger, car la voix aiguë et vibrante de l’interprète magique de sa Flûte enchantée vient le trouver dans le Ciel, qu’elle escalade avec aisance, exactement comme elle a su, sans effort, passer de sa chaumière du village de Skotelof au palais d’or et de marbre bâti par M. Garnier. » |
Le Nouvel Opéra: monument - artistes
By X Y Z., T. Faucon, 1875 p.292
By X Y Z., T. Faucon, 1875 p.292
When one sees her, when one hears her in Hamlet, one wonders if Shakspeare has come from the Champs-Élysées to make her rehearse Ophélie.
It is true that when she puts on the star tiara of the Queen of the Night, Mozart, on his side, must leave the eternal mansions to come and hear her. But no, he does not have to bother, because the sharp and vibrant voice of the magical interpreter of his Magic Flute comes to find him in the sky, which she climbs with ease, exactly as she was able to go from her cottage in the village of Hussaby to the palace of gold and marble built by M. Garnier. (About Christine Nilsson) |
The Phantom of the Opera
Leroux
Leroux
(The New Marguerite)
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(La Marguerite Nouvelle)
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Whoever has not heard Christine sing the final trio of Faust does not know Faust: the exaltation of the voice and the sacred intoxication of a pure soul cannot go beyond!”
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Qui n’a pas entendu Christine chanter le trio final de Faust ne connaît pas Faust : l’exaltation de la voix et l’ivresse sacrée d’une âme pure ne sauraient aller au-delà ! »
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Le Nouvel Opéra: monument - artistes
By X Y Z., T. Faucon, 1875, p.292
By X Y Z., T. Faucon, 1875, p.292