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Scan 36
Dictionary of music and musicians, 1908
23 lines. Read by computer on 5 September 2026. Printed page 16. See the scan on archive.org.
1April 26, 1865, chosen for this part by Meyerbeer himself; the Marquis de Posa in Verdi's 'Don Carlos,' in 1867; the title part in Thomas's 'Hamlet,' 1868; Mephistopheles on the first performance of 'Faust'1 at the Opéra, March 3, 1869; Paddock in Diaz's 'Coupe du Roi de Thulé,' and Charles VII. in Mermet's 'Jeanne d'Arc,' in 1873. He made his final appearance there on May 13, 1876, in his great part Hamlet, in which his acting was founded on his boyish recollections of Macready in that part in Paris. (Musical World.)
3In London he first appeared at Covent Garden, April 10, 1860, as Hoël, and returned there every season until 1866, excepting 1865. His parts included Don Juan, Figaro in 'Le Nozze,' Tell, Assur, Fernando in 'La Gazza Ladra,' Alfonso XI., Pietro in 'Masaniello,' Rudolph in 'Sonnambula,' St. Bris, Peter the Great, and, on July 2, 1863, Mephistopheles on production of 'Faust,' in which he has never been surpassed.
5In 1870 he played, at Drury Lane, Iago in the revival of Rossini's 'Otello'; Lotario on the production in England of 'Mignon,' etc. From 1871 to 1875 inclusive he was again at Covent Garden, for the first time there as Hamlet, Caspar, and the Cacique on the production of Gomez's 'Guarany.' In 1876 he sang at Drury Lane; and in 1877 at Her Majesty's for the first time in England as De Nevers, and Alfonso in 'Lucrezia,' which part he played, May 19, 1877, on the occasion of the last appearance on the stage of Therèse Titiens. In 1857 he was for a short time Professor of singing at the Paris Conservatoire. In 1870-72 he sang with great success in opera at Brussels, and on Jan. 27, 1872, was appointed Inspector of the singing classes at the Conservatoire there.2 In 1861 he appeared at Berlin at Meyerbeer's request, but the tremolo in his voice did not please the Germans. In 1878, however, he sang in Italian at Vienna with the greatest success in two of his best parts, Don Juan and Mephistopheles, etc., and was appointed by the Emperor of Austria 'Imperial Chamber Singer.' He also sang in concert tour of the French provinces, but for a long time past he has lived in retirement.]
7Faure is a good musician and a fine actor. He is also a collector of pictures and a man of great culture. His voice is a baritone of great extent and of very fine quality. In 1859 he married Mademoiselle Lefebvre (1828-1905), the chief actress of Dugazon rôles at the Opéra Comique. He has published two books of songs (Heugel), and a Traité in 1886. c.; additions by A. c.
9FAUST. Music to Goethe's 'Faust' was composed by Lindpaintner, and appears to have been produced at Stuttgart in June 1832; also by Prince Radziwill, the score of which was published in 1836. Spohr's 'Faust' (words by Bernhard), a
111 He had previously played this part in London, during four seasons, 1863-66.
122 Isnardon's Théâtre de la Monnaie.
14romantic opera in two acts, is in no respect connected with Goethe's play. It was composed at Vienna in 1813 for the Theater an der Wien, but was first performed at Frankfort in March 1818, and was for many years a great favourite. It was produced in London by a German company at the Prince's Theatre, May 21, 1840; and in Italian at Covent Garden under Spohr's baton, July 15, 1852.
16The musical settings that are now best known are the following:—(i.) FAUST, opera in five acts; words after Goethe, by Barbier and Carré; music by Gounod. Produced at the Théâtre Lyrique, March 19, 1859; at the Grand Opéra, March 3, 1869; Her Majesty's Theatre, as 'Faust,' June 11, 1863 (selections had previously been sung at the Canterbury Music Hall, Westminster); at the Royal Italian Opera, Covent Garden, as 'Faust e Margherita,' July 2, 1863; in English (by Chorley), as 'Faust,' at Her Majesty's, Jan. 23, 1864. In Germany sometimes known as 'Margarethe.'
18(ii.) LA DAMNATION DE FAUST, dramatic legend in four parts; the words partly adapted from Gérard de Nerval's version of Goethe, partly written by M. Gandonnière, and partly by Berlioz himself. Composed by Berlioz (op. 24). Performed (as a concert) at the Opéra Comique, Paris, Dec. 6, 1846; two parts given under Berlioz at Drury Lane, London, Feb. 7, 1848, selections at the same place, June 29 of the same year, and at the New Philharmonic Concert of June 9, 1852 (in Chorley's translation). First complete performance in England under Hallé at the Free Trade Hall, Manchester, Feb. 5, 1880. In 1903 it was put upon the stage at Monte Carlo, but the experiment, though tried in various theatres, has happily not been permanently adopted.
20(iii.) MEFISTOFELE. Grand opera in a prologue and five acts, words (after Goethe) and music by Arrigo Boito. Produced at Milan, March 5, 1868. Remodelled and brought out again, in a condensed form (prologue and four acts), at Bologna, Oct. 4, 1875; at Her Majesty's Theatre, July 6, 1880. [See also LISZT, PIERSON, and WAGNER.]
22FAUX-BOURDON, or Falsobordone, a simple kind of Counterpoint to the Church plain-song; in other words, a harmony to the ancient chant. The first kind of variation from strictly unisonous singing in the Middle Ages was the 'Organum,' or the addition of octaves above and below the plain-song or melody. Other parallel concords were also (as in the 'mixture' organ-stops) blended with the octaves—as the fifth, and even the fourth. These appear to have been used as early as the 8th century. After the Organum the next improvement was the Dia-phonum and Discant, and by the 14th century there are historical intimations that these had led, by a natural development, to the use of 'Faux bourdon,' at Avignon, whence it was
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