Scan 28
Baker S Biographical Dictionary Of Musicians, 1900
12 lines. Read by computer on 12 September 2026. Printed page 6. See the scan on archive.org.
1Paris Opéra as Marguerite (Oct. 8, 1897). She sang the same role at her first appearance in America at the Metropolitan Opera (Feb. 22, 1904). Her performance of Salomé in Strauss's opera at Covent Garden (1913) led to an invitation from Richard Strauss to sing the part in Dresden and Paris. Her other roles were Juliette, Ophélie, Gilda, Nedda, Elsa, Elisabeth and Sieglinde. Her memoirs are published in Finnish, Swedish and German.
3Adam (äh-dähn), Adolphe-Charles, celebrated French opera composer; b. Paris, July 24, 1803; d. there, May 3, 1856. He entered the Paris Cons. in 1817 and studied with Boieldieu, whose influence was a determining factor in his career. His first opera was Pierre et Catherine (Opéra-Comique, Feb. 9, 1829). The one-act comic opera, Le Chalet (Opéra-Comique, Sept. 25, 1834), marked his first success (1400 performances of this opera were given before 1899). With the production of Le Postillon de Longjumeau (Opéra-Comique, Oct. 13, 1836) Adam achieved international fame. Of his other operas (he wrote 53 in all), the following, all produced at the Opéra-Comique, are the most important: Le Fidèle Berger (Jan. 6, 1838); Le Brasseur de Preston (Oct. 31, 1838); Régine, ou Les Deux Nuits (Jan. 17, 1839); La Reine d'un jour (Sept. 19, 1839); Le Roi d'Yvetot (Oct. 13, 1842); Cagliostro (Feb. 10, 1844); Le Toréador, ou L'Accord parfait (May 18, 1849); Giralda, ou La Nouvelle Psyché (July 20, 1850); Le Farfadet (March 19, 1852); Le Sourd, ou L'Auberge pleine (Feb. 2, 1853). His comic opera Si j'étais roi (Théâtre-Lyrique, Sept. 4, 1852) was also very popular; his tragic opera Richard en Palestine was produced at the Paris Opéra (Oct. 7, 1854) with considerable success, but was not retained in the repertoire. Adam was also a very successful ballet composer; his Giselle, produced at the Paris Opéra (June 28, 1841) became one of the most celebrated and enduring choreographic scores. His song Cantique de Noël, in numerous arrangements, enjoyed great popularity. In 1847 Adam ventured into the field of management with an operatic enterprise, the Théâtre National; the revolutionary outbreak of 1848, however, brought financial ruin to his undertaking. In 1849 he was appointed prof. of composition at the Paris Cons. He traveled widely in Europe, visiting London, Berlin and St. Petersburg. As one of the creators of French comic opera, Adam ranks with Boieldieu and Auber in the expressiveness of his melodic material if not in originality or inventive power. Adam's memoirs were published posthumously in 2 volumes under the titles Souvenirs d'un musicien (1857), and Derniers souvenirs d'un musicien (1859). A. Pougin wrote his biography (Paris, 1877).
5Adam, Claus, American cellist and composer; born of Austrian parents in Sumatra, Nov. 5, 1917. He was taken to Europe as a child (1923); studied in Germany and Austria. In 1931 he came to the U.S.; has appeared in concerts as a cellist. His piano sonata was performed at the Salzburg Festival in 1952.
7Adam, Jenö, Hungarian conductor, composer and writer on music; b. Szigetszentmiklós, Dec. 13, 1896. He studied with Kodály, and was later associated with him in a program reorganizing the system of musical education; conducted several choirs in Budapest, and in 1938 was appointed prof. of choral singing at the Academy of Music there. He has written 2 operas, Hungarian Christmas (Budapest, Dec. 22, 1931) and Mária Veronika (Budapest, 1938); a symph. cantata Man on the Road (1946); 2 string quartets; a cello sonata and unaccompanied choral works. He has also published a number of musical text books for schools.
9Adam, Louis; Alsatian pianist, teacher and composer; father of Adolphe-Charles Adam; b. Mütersholz, Dec. 3, 1758; d. Paris, April 8, 1848. He went to Paris in 1775; was later prof. of piano at the Paris Cons. (1797-1842). He was the teacher of Kalkbrenner and Hérold; was also known as composer of virtuoso piano pieces, some of which (especially variations on Le Roi Dagobert) were very popular. He was the author of two standard manuals for piano: Méthode générale du doigté (Paris, 1798) and Méthode nouvelle pour le Piano (5 editions, 1802-32), which he wrote for his pupils at the Paris Conservatory.
11Adam de la Hale (or Halle), called 'Le Bossu d'Arras' (Hunchback of Arras); b. Arras, c. 1240; d. Naples, 1287. A famous trouvère, many of whose works have been preserved (publ. 1872 by Cousseran as Œuvres complètes du Trouvère Adam de la Halle); the most interesting is a dramatic pastoral La jeu de Robin et de Marion (1285), written for the Aragonese court at Naples resembling an opéra comique in its plan. He was gifted in the dual capacity of poet and composer. Both monodic and polyphonic works of his survive. His rondeaux, etc., are reprinted by Fr. Gennrich, in Ronddeaux, Virelais und Balladen (I, 1921).
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