Scan 75
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1her to Paris in 1797. Paravicini was most successful in the French capital, and became a leading soloist at the concerts given in the Salle de la Rue des Victoires Nationales. Unfortunately, the royal favour became less marked after a time, and finally ceased. The violinist sank into abject poverty, and, reduced to the utmost indigence, applied to the Italian residents in Paris, who eventually assisted her to return to her native country. Once arrived at Milan, her ability soon regained for her both competence and repute. Her performances of some concertos at the Italian Theatre at Lisbon in 1799 created a sensation, as did also her appearances at Leipzig, in the same year, and Dresden in 1800. She returned to Paris in 1801, and was received with enthusiasm at the Fridzeri concerts. She was at Berlin in 1802, Ludwigslust in 1805, and gave notable concerts at Munich and Vienna in 1827, but all trace of her is lost after her performance at Bologna in 1830.
3BIBL.—Laher, Famous Violinists; Clarke, Dict. Fiddlers; Duboulo, The Violin, Fètes; Q.L., Mendel, Musik Lexikon.
4E. H.-A.
6PARAY, PAUL M. A. CHARLES (b. Tréport, May 24, 1886), composer and conductor. He was precociously gifted, and the influence of Dallier enabled him to overcome his family's objections to a musical career for him.
8He entered the Paris Conservatoire in 1905, becoming a pupil of Caussade and Xavier Leroux, won the first prize for harmony in 1908, and the Prix de Rome in 1911. He was taken prisoner during the war, returning in 1918. He owed it to a happy concourse of circumstances that he was asked to conduct, as a test, the orchestra of the Concerts Lamoureux (Feb. 1920). His success was such that he was made second conductor to Chevillard, whom he succeeded soon afterwards. He has proved himself a true master, particularly in classic repertory, to which he is particularly attached.
10As a composer, his personality is less pronounced. His works, already numerous, are sincere, finely written, occasionally a little academic. The best known are the sonata for PF. and vln.; the oratorio 'Jeanne d'Arc' (Rouen, 1921); and the symphonic poem 'Adonis troublé' (1921), given at the Opéra in 1922 under the title 'Artemis troublée.'
12BIBL.—D. Sordet, Douze chefs d'orchestre (Paris, 1924).
13M. P.
15PARDON DE PLOËRMEIL, LE, see DINORAH.
17PAREPA-ROSA, EUPHROSYNE (b. Edinburgh, May 7, 1836; d. Jan. 21, 1874), the daughter of Demetrius Parepa, Baron de Boyescu, a Wallachian boyard, by his marriage with the singer Elizabeth SEGUIN (d. 1870), sister to Edward SEGUIN, a well-known bass singer. On her father's death, the child, having shown great aptitude for music, was educated by her mother and eminent masters for an artistic career. At the age of 16 Miss Parepa made a successful début on the stage as Amina, at Malta, and afterwards played at Naples, Genoa, Rome, Florence, Madrid and Lisbon. In this country she made her first appearance May 21, 1857, as Elvira in 'I Puritani' at the Royal Italian Opera, Lyceum, and played, Aug. 5, 1858, as Camilla on the revival of 'Zampa' at Covent Garden, on each occasion with fair success. During some of the seasons between 1859 and 1865 she played in English opera at Covent Garden and Her Majesty's, and created the parts of Victorine in Mellon's opera of that name (Dec. 19, 1859); the title-part of 'La Reine Topaze' of Massé, on its production in England (Dec. 26, 1860); that of Mabel in Macfarren's 'Helvellyn' (Nov. 3, 1864); playing also Arline, Satanella, and the two Zerlinas. In 1863 she was married to Captain H. de Wolfe Carvell (d. Lima, Peru, Apr. 26, 1865).
19Her fine voice combined power and sweetness, good execution and extensive compass (of two octaves and a half, extending to d''' in alt); but she obtained but moderate success in opera. On the other hand, she won almost from the first a great reputation in oratorios and in the concert-room, and was frequently engaged at the various Societies and Festivals, including the Handel Festivals of 1862 and 1865. She also sang abroad in Germany and elsewhere. At the close of 1865 she went to America for a concert tour with Carl Rosa (whom she afterwards married there in Feb. 1867) and Levy the cornet-player, returning to England the following year. After their marriage Madame Parepa-Rosa and her husband remained in America for four years, and established their famous Opera Company, in which she was principal singer, achieving great success in English and Italian opera, oratorio and concerts. On her return to England, 1871, she was prevented by illness from fulfilling an engagement at the Royal Italian Opera, Covent Garden, but played for the winter season in Italian opera at Cairo, and the next year was heard with pleasure at Covent Garden as Donna Anna and Norma, and sang at the Philharmonic 'Ah Perfido' of Beethoven. In the autumn of 1871, Madame Parepa and her husband made a third visit to America with their company. In 1872 she sang at the Niederrheinische Festival at Düsseldorf, and later at Covent Garden, as Norma and Donna Anna. In 1873 she sang in Italian at Cairo with great success; her health prevented her singing in the provincial company that had been established by her husband, but she intended to sing the part of Elsa at the projected production of an English version of 'Lohengrin' at Drury Lane in Mar. 1874. Before the scheme could be realised Madame
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