Rosalie Levasseur: Difference between revisions
No edit summary |
mNo edit summary |
||
| Line 3: | Line 3: | ||
==Biography== |
==Biography== |
||
Born in [[Valenciennes]] in 1749, she first appeared at the [[Paris Opéra]] in a revival of [[André Campra|Campra]]'s ''[[L'Europe galante]]'' in 1766. After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in [[Pierre Montan Berton|Berton]] and [[Jean-Claude Trial|Trial]]'s, ''Théonis'', and [[Jean-Benjamin de La Borde|La Borde]]'s ''Ismène et Isménias'', <ref name="Pitou">Pitou, pp. 347-349.</ref> her status in the company rapidly improved following Gluck's arrival in Paris in 1774. The new maestro and the primadonna in office, [[Sophie Arnould]], could not stand each other, while Levasseur was the mistress of the Austrian ambassador [[Florimond Claude, comte de Mercy-Argenteau|Florimond de Mercy-Argenteau]], a compatriot of Gluck's who exerted a strong influence on the dauphine [[Marie Antoinette]]. <ref name="Pitou"/> Levasseur was at first given the insignificant role of a Greek woman at the premiere of ''[[Iphigénie en Aulide]]'' in April, but performed the more important part of Cupid four months later in ''[[Orfeo ed Euridice|Orphée et Eurydice]]'', being endowed with a special new aria. The following year she took over from Arnould the title roles of Iphigénie and Eurydice in the new version of the former opera and in the revivals of the latter, after which she was promoted to the company's leading soprano being entrusted the creation of the title roles in the subsequent main operas by Gluck, ''[[Alceste (Gluck)|Alceste]]'' on 23 April 1776, ''[[Armide (Gluck)|Armide]]'' on 23 September 1777, and ''[[Iphigenie en Tauride]]'' on 18 May 1779.<ref name="Rushton">Rushton, Julian (1992), 'Levasseur, Rosalie' in ''The [[New Grove Dictionary of Opera]]'' p 1158</ref> She also appeared in operas by Gluck's rival [[Niccolò Piccinni]], as well as [[Johann Christian Bach]], [[André Grétry]], and [[Antonio Sacchini]]. In 1783 she handed over to [[Antoinette Saint-Huberty]] the role of Armide in Sacchini's ''[[Renaud]]'' after its third performance, and she is not known to have tried to resume her appearances at the Paris Opera, thereafter. She retired officially in 1784.<ref name="Pitou"/> |
Born in [[Valenciennes]] in 1749, she first appeared at the [[Paris Opéra]] in a revival of [[André Campra|Campra]]'s ''[[L'Europe galante]]'' in 1766. After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in [[Pierre Montan Berton|Berton]] and [[Jean-Claude Trial|Trial]]'s, ''Théonis'', and [[Jean-Benjamin de La Borde|La Borde]]'s ''Ismène et Isménias'', <ref name="Pitou">Pitou, pp. 347-349.</ref> her status in the company rapidly improved following Gluck's arrival in Paris in 1774. The new maestro and the primadonna in office, [[Sophie Arnould]], could not stand each other, while Levasseur was the mistress of the Austrian ambassador [[Florimond Claude, comte de Mercy-Argenteau|Florimond de Mercy-Argenteau]], a compatriot of Gluck's who also exerted a strong influence on the dauphine [[Marie Antoinette]]. <ref name="Pitou"/> Levasseur was at first given the insignificant role of a Greek woman at the premiere of ''[[Iphigénie en Aulide]]'' in April, but performed the more important part of Cupid four months later in ''[[Orfeo ed Euridice|Orphée et Eurydice]]'', being endowed with a special new aria. The following year she took over from Arnould the title roles of Iphigénie and Eurydice in the new version of the former opera and in the revivals of the latter, after which she was promoted to the company's leading soprano being entrusted the creation of the title roles in the subsequent main operas by Gluck, ''[[Alceste (Gluck)|Alceste]]'' on 23 April 1776, ''[[Armide (Gluck)|Armide]]'' on 23 September 1777, and ''[[Iphigenie en Tauride]]'' on 18 May 1779.<ref name="Rushton">Rushton, Julian (1992), 'Levasseur, Rosalie' in ''The [[New Grove Dictionary of Opera]]'' p 1158</ref> She also appeared in operas by Gluck's rival [[Niccolò Piccinni]], as well as [[Johann Christian Bach]], [[André Grétry]], and [[Antonio Sacchini]]. In 1783 she handed over to [[Antoinette Saint-Huberty]] the role of Armide in Sacchini's ''[[Renaud]]'' after its third performance, and she is not known to have tried to resume her appearances at the Paris Opera, thereafter. She retired officially in 1784.<ref name="Pitou"/> |
||
Julian Rushton describes Levasseur as a "powerful rather than flexible singer, with a good stage presence if unattractive features."<ref name="Rushton">Rushton, Julian (1992), 'Levasseur, Rosalie' in ''The [[New Grove Dictionary of Opera]]'' p 1158</ref> |
Julian Rushton describes Levasseur as a "powerful rather than flexible singer, with a good stage presence if unattractive features."<ref name="Rushton">Rushton, Julian (1992), 'Levasseur, Rosalie' in ''The [[New Grove Dictionary of Opera]]'' p 1158</ref> |
||
Revision as of 17:21, 20 December 2014
Rosalie Levasseur or Le Vasseur (8 October 1749 – 6 May 1826) was a French soprano. Known as 'Mlle Rosalie', she is best remembered for her work with the composer Christoph Willibald Gluck.
Biography
Born in Valenciennes in 1749, she first appeared at the Paris Opéra in a revival of Campra's L'Europe galante in 1766. After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in Berton and Trial's, Théonis, and La Borde's Ismène et Isménias, [1] her status in the company rapidly improved following Gluck's arrival in Paris in 1774. The new maestro and the primadonna in office, Sophie Arnould, could not stand each other, while Levasseur was the mistress of the Austrian ambassador Florimond de Mercy-Argenteau, a compatriot of Gluck's who also exerted a strong influence on the dauphine Marie Antoinette. [1] Levasseur was at first given the insignificant role of a Greek woman at the premiere of Iphigénie en Aulide in April, but performed the more important part of Cupid four months later in Orphée et Eurydice, being endowed with a special new aria. The following year she took over from Arnould the title roles of Iphigénie and Eurydice in the new version of the former opera and in the revivals of the latter, after which she was promoted to the company's leading soprano being entrusted the creation of the title roles in the subsequent main operas by Gluck, Alceste on 23 April 1776, Armide on 23 September 1777, and Iphigenie en Tauride on 18 May 1779.[2] She also appeared in operas by Gluck's rival Niccolò Piccinni, as well as Johann Christian Bach, André Grétry, and Antonio Sacchini. In 1783 she handed over to Antoinette Saint-Huberty the role of Armide in Sacchini's Renaud after its third performance, and she is not known to have tried to resume her appearances at the Paris Opera, thereafter. She retired officially in 1784.[1]
Julian Rushton describes Levasseur as a "powerful rather than flexible singer, with a good stage presence if unattractive features."[2]
She died in Neuwied am Rhein in 1826.
Other roles created
- 1777: the title role in Ernelinde, princesse de Norvège (3rd revision) by Philidor
- 1778: Angélique in Roland by Piccinni
- 1779: Oriane in Amadis de Gaule by J C Bach
- 1780: the title role in Andromaque by Grétry
- 1783: Armide in Renaud by Sacchini
References
- Notes
- Sources
- Pitou, Spire, The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715-1815, Greenwood Press, Westport/London, 1985 (ISBN 0-313-24394-8)
- Rushton, Julian (1992), 'Levasseur, Rosalie' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7