Scan 37
Baker S Biographical Dictionary Of Musicians, 1900
12 lines. Read by computer on 12 September 2026. Printed page 15. See the scan on archive.org.
1tion of Alary's opera takes place in Wartburg, as in Tannhäuser). It held the stage for 13 performances (Tannhäuser had three). Alary also wrote a mystery play Redemption (Paris, April 14, 1850), much sacred music and some chamber works.
3Alayrac, d.' Sce Dalayrac.
5Albancse, Licia, Italian-American soprano; b. Bari, July 22, 1913. She studied with Giuseppina Baldassare-Tedeschi; made her opera debut at Parma in Madama Butterfly (Dec. 10, 1935); sang the same role in her first appearance with the Metropolitan Opera (Feb. 9, 1940). She lived in Italy during World War II; returning to America in 1945, she sang with Toscanini and the NBC Symphony; also continued to appear with the Metropolitan Opera.
7Albani (ahl-bah'-ne), Emma, (stage name of Marie Louise Cecilia Emma Lajeunesse) Canadian dramatic soprano; b. Chambly, near Montreal, Nov. 1, 1847; d. London, April 3, 1930. She sang in a Catholic church in Albany, N. Y. in 1864; was then sent to Europe for study, first with Duprez in Paris, and then with Lamperti in Milan (Lamperti dedicated to her his treatise on the trill). She made her debut as Amina in La Sonnambula in Messina in 1870, under the name of Albani, in honor of the American city that gave her the first start. After further appearances in Italy, she made her London debut, again as Amina (Covent Garden, April 2, 1872). In 1873 she sang in Moscow and St. Petersburg. Her American operatic debut was in the same role at the New York Academy of Music, in Max Strakosch's company (Oct. 21, 1874). It paved the way for later successes with the Metropolitan Opera, where she made her first appearance as Gilda (Dec. 23, 1891). Her last important operatic engagement was as Isolde at Covent Garden (June 26, 1896). She sang in concerts, however, for several years longer. Her repertoire included Marguerite, Mignon, Ophelia, Elsa, Elisabeth, Lucia and Desdemona. Albani married Ernest Gye, the lessee of Covent Garden, in 1878. In her singing, she combined high technical skill with profound feeling. She was equally successful on the operatic stage and in oratorio. In appreciation of her services to British art, she was made a Dame of the British Empire (1925). She published her memoirs, Emma Albani: Forty Years of Song (London, 1911).
9Albani, Mattia (real name Mathias Alban), violin maker; b. S. Niccolo di Kaltern (Alto Adige) March, 1621 (baptized March 28); d. Bolzano, Feb. 7, 1712. Pupil of Jakob Stainer. Violins of his are extant dating from as early as the end of 1644. His best examples date from 1680 onward. Owing to the great vogue his violins enjoyed, many Albani forgeries are in existence. A son, Giuseppe, his pupil, worked from 1680 to 1722 at Bolzano, and another son, Michele (1677-1730) at Graz. Other violin makers named Albani, or at least using the name on their instruments (perhaps for its commercial value) are the following, none appearing to have been connected with the family of the original Mattia: Mattia (Rome, c. 1650-1715); Nicola (worked at Mantua, c. 1763); Filippo (active c. 1773); Francesco (active at Graz, c. 1724); Michele (at Palermo, 18th cent.); and Paolo (at Palermo and Cremona, 1630-70).
11Albéniz, Isaac, eminent Spanish composer; b. Camprodón, May 29, 1860; d. Cambo-Bains (Pyrénées), May 18, 1909. He exhibited precocious musical ability. When he was six, his mother took him to Paris, where he had a few private lessons with Marmontel. Upon his return to Spain, he gave concerts with his sister Clementine, also a child prodigy. In 1868 the family moved to Madrid, and Albéniz entered the Conservatory there. Possessed by a spirit of adventure, he ran away from home at the age of 13, and traveled in Spain, giving concerts. He then stowed away on a ship for Puerto Rico; from there he went to Cuba and to the U.S., supporting himself by playing concerts in private and in public. He returned to Spain in June, 1875, and was befriended in Madrid by Count Guillermo Morphy, who enabled him to undertake serious study, first at the Brussels Cons. with Brassin (piano) and Dupont and Gevaert (composition); and then at the Leipzig Cons. with Jadassohn and Reinecke. He went to Budapest in 1878 to meet Liszt, but it is doubtful that he actually became Liszt's pupil. Albéniz married Rosita Jordana in 1883; their daughter, Laura Albéniz, became a well known painter. In 1893 he settled in Paris; he also gave frequent piano recitals in Spain, and visited London. His early works were for the theater; he wrote several operas: The Magic Opal (London, Jan 19, 1893); Enrico Clifford (Barcelona, May 8, 1895); San Antonio de la Florida (Madrid, Oct. 26, 1894; also staged in Brussels, Jan. 3, 1905 under the title Ermitage fleuri); Pepita Jiménez (Barcelona, Jan. 5, 1896). He undertook the composition of an operatic trilogy King Arthur, of which only the first part, Merlin, was completed. In the meantime he met Felipe
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