This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1888 edition. Excerpt: ...proud, was the pupil of Manuel Garcia, the intimate friend of Maria Malibran, and the judicious adviser of Pauline Viardot in her earlier years. The son of a tenor singer, who united the business of a diamond broker with the profession of music, young Nourrit received a good classical education, and was then placed in the Conservatoire, where he received a most thorough training in the science of music, as well as in the art of singing. It was said of him in after-years that he was ahle to write a libretto, compose the music to it, lead the orchestra, and sing the tenor role in it, with equal facility. His first appearance was in Gluck"s "Iphigenie en Tauride," in 1821, his age then being nineteen. Gifted with remarkable intelligence and ambition, he worked indefatigably to overcome his defects of voice, and perfect his equipment as an artist. Manuel Garcia, the most scientific and exacting of singing teachers, was the maestro under whom Nourrit acquired that large and noble style for which he became eminent. He soon became principal tenor at the Academie, and created all of the leading tenor roles of the operas produced in France for ten years. Among these may be mentioned Neocles in "La Siege de Corinthe," Masaniello in " La Muette de Portici,"4rnold in" Guillaume Tell," Leonardo da Vinci in Ginestell"s "Francois I," Un Inconnu in "Le Dieu et la Bayadere," Robert le Diable, Edmond in "La Serment," Nadir in Cherubini"s "Ali Baba," Eleazar in "La Juive," Raoul in "Les Huguenots," Phcebus in Bertini"s "La Esmeralda," and Stradella in Niedermeyer"s opera. Nourrit gave a distinct stamp and a flavor to all the parts he created, and his comedy was no less refined and pleasing than his tragedy was pathetic and commanding. He was idolized by the public,...