Battu, Marie. (1838-1888) . Affectionate letter to the French Publisher, Escudier. From the famous "petit" soprano, dated 26 January, 1870. 1 page, 8vo. In very fine condition.
"After appearing as a child in Offenbach’s Pépito at the Théâtre des Variétés, Paris, she made her début in 1860 at the Théâtre Italien as Amina (La sonnambula). She sang Oscar in the first Paris performance of Un ballo in maschera. Transferring to the Opéra, in 1865 she created Inès in Meyerbeer’s L’Africaine (1865) and sang Mathilde in the 500th performance of Guillaume Tell (1868). She made her Covent Garden début in 1862 as Gilda (Rigoletto) and also sang Elvire (La muette de Portici), Marguerite de Valois and Alice (Robert le diable). She retired in 1873. Her singing combined superb technique with faultless intonation." (Grove Online)
"After appearing as a child in Offenbach’s Pépito at the Théâtre des Variétés, Paris, she made her début in 1860 at the Théâtre Italien as Amina (La sonnambula). She sang Oscar in the first Paris performance of Un ballo in maschera. Transferring to the Opéra, in 1865 she created Inès in Meyerbeer’s L’Africaine (1865) and sang Mathilde in the 500th performance of Guillaume Tell (1868). She made her Covent Garden début in 1862 as Gilda (Rigoletto) and also sang Elvire (La muette de Portici), Marguerite de Valois and Alice (Robert le diable). She retired in 1873. Her singing combined superb technique with faultless intonation." (Grove Online)
Battu, Marie. (1838-1888) . Affectionate letter to the French Publisher, Escudier. From the famous "petit" soprano, dated 26 January, 1870. 1 page, 8vo. In very fine condition.
"After appearing as a child in Offenbach’s Pépito at the Théâtre des Variétés, Paris, she made her début in 1860 at the Théâtre Italien as Amina (La sonnambula). She sang Oscar in the first Paris performance of Un ballo in maschera. Transferring to the Opéra, in 1865 she created Inès in Meyerbeer’s L’Africaine (1865) and sang Mathilde in the 500th performance of Guillaume Tell (1868). She made her Covent Garden début in 1862 as Gilda (Rigoletto) and also sang Elvire (La muette de Portici), Marguerite de Valois and Alice (Robert le diable). She retired in 1873. Her singing combined superb technique with faultless intonation." (Grove Online)
"After appearing as a child in Offenbach’s Pépito at the Théâtre des Variétés, Paris, she made her début in 1860 at the Théâtre Italien as Amina (La sonnambula). She sang Oscar in the first Paris performance of Un ballo in maschera. Transferring to the Opéra, in 1865 she created Inès in Meyerbeer’s L’Africaine (1865) and sang Mathilde in the 500th performance of Guillaume Tell (1868). She made her Covent Garden début in 1862 as Gilda (Rigoletto) and also sang Elvire (La muette de Portici), Marguerite de Valois and Alice (Robert le diable). She retired in 1873. Her singing combined superb technique with faultless intonation." (Grove Online)