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Scan 146
Cyclopedia of music and musicians, 1888
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1Méduse, Mlle Desvoyes. Thévenard sang the part of Phinée with great effect. Published by Ballard (Paris, 1682; 2d ed., 1722). Same text, music by Bernard de Bury, Dauvergne, Francœur, and Rebel, Paris, 1770; and Persée et Andromède, ballet by Méhul, ib., June 8, 1810. Italian operas on the same subject: Perseo, by Andrea Mattioli, Venice, 1665; by Antonio Draghi, text by Aurelio Amalteo, Vienna, 1669; Le azioni fortunate di Perseo, by do., ib., 1691; Andromeda, text by Bernardoni, composer unknown, ib., Feb. 21, 1702; by Sacchini, London, 1774; by João de Sousa Carvalho, Lisbon, 1779; and Il ritorno di Perseo, by Paisiello, Naples, 1792. Also an Hungarian ballet, Perseus und Andromeda, by George Druzecki, Presburg, about 1790.—Clément et Larousse, 525.
3PERSÉE, tragédie-lyrique in three acts, arranged by Marmontel from Quinault's text, music by Philidor, first represented at the Académie Royale de Musique, Paris, Oct. 27, 1780. Original cast: Persée, M. Legros; Andromède, Mlle Levasseur; Méduse, Mlle Durancy; Cassiopée, Mlle Duplant; Phinée, M. Larrivée; and Mercure, M. Lainé.—Lajarte, i. 319.
5PERSIANI (Persiano), GIOSEFFO, born at Recanati, Papal States, in 1804, died in Paris, Aug. 14, 1869. Dramatic composer, pupil of Tritto at the royal college of music, Naples. About 1837 he went to Paris, and after 1838 passed several years in Spain. Works: Piglia il mondo come viene, opera buffa, Florence, 1826; L'inimico generoso, ib., 1826; Attila, Parma, 1826; Danao, rè d'Argo, Florence, 1827; Gaston de Foix, Venice, 1828; Costantino in Arles, ib., 1829; Eufemio di Messina, Florence, 1829; Il solitario, Milan, 1829; I Saraceni in Catania (a new version of Eufemio di Messina), Padua, 1832; Inès de Castro, Naples, 1835; Il fantasma, Paris, 1843; L'orfana savojarda, Madrid, 1846.—Fétis.
7PERSUIS, LOUIS LUC LOISEAU DE, born at Metz, July 4, 1769, died in Paris, Dec. 20, 1819. Dramatic composer and violinist, pupil of his father, who was master of the choristers of the cathedral. He entered the orchestra of the theatre, lived in Avignon as teacher of violin, and in 1787 went to Paris, where he produced an oratorio, Le passage de la mer Rouge, at the Concerts Spirituels. He was first violinist at the Théâtre Montansier in 1790 and at the Opéra in 1793, chef de chant at the Opéra in 1804, chef d'orchestre in 1810, succeeding Rey; he became also professor of violin at the Conservatoire when it was founded in 1795, but lost this post in 1802. In 1814 he became inspector-general of the Opéra, and in 1817, through court influence, superseded Choron as director. He had meanwhile been appointed conductor of the court concerts, and in 1810–15 was conductor of the orchestra at the Académie. Afterwards maître de chapelle to Louis XVIII. in 1814, succeeding Lesueur as superintendent of the Royal Chapel. He exhibited great ability as a conductor, but his music, though it met with considerable success in its day, is now forgotten. Order of St. Michael, 1819; Legion of Honour. Works—Operas; Estelle, 1783; La nuit espagnole, 1791; Phanor et Angéla, 1798; Fanny Morna, 1799; Léonidas (with Gresnick), 1799; Le fruit défendu, 1800; Marcel, 1801; Chant de victoire en l'honneur de Napoléon, 1806; L'inauguration de la Victoire (with Lesueur), 1807; Le triomphe de Trajan, 1807; Jérusalem délivrée, 1812; Chant français, 1814; L'heureux retour (with Berton and Kreutzer), 1815; Les dieux rivaux (with Spontini), 1816. He wrote also music for ballets (some in collaboration with Kreutzer): Le retour d'Ulysse, 1807; Nina, 1813; L'épreuve villageoise, 1814; L'heureux retour, 1815; Le carnaval de Venise, 1816. His church compositions in MS. are in the Conservatoire Library.—Fétis; do., Supplément, ii. 326; Riemann; Mendel.
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