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opera-ghosts · 2 years

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Hauk, Minnie (1851–1929)

American dramatic soprano, the first international opera superstar to emerge from the U.S., who was particularly celebrated for her Carmen. Name variations: Minnie Hauck. Born Amalia Mignon Hauck in New York City, on November 16, 1851; died at Villa Tribschen, Switzerland, on February 6, 1929; daughter of James Hauck; married Baron Ernst von Hesse-Wartegg.

The first full-fledged, internationally acclaimed operatic prima donna to be produced by the United States, Minnie Hauk was born Amalia Mignon Hauck (she later chose to drop the c) in New York City during 1851. She was the only child of a German-born father, a carpenter who had fled Germany after the failure of the 1848 revolution, and his American wife. The Hauck family moved to Providence, Rhode Island, where at the age of five, Minnie attended her first theatrical performance while seated on her mother's lap. She later reminisced about this experience, recalling that after returning home she did not even look at her dolls, "sitting in a row near my bed. I had seen at the theatre much larger, much finer ones." Stagestruck, the young girl became obsessed by Jenny Lind , "the Swedish Nightingale." She owned many pictures of the singer, read a biography of Lind "at least once a week," and named her dogs and cats Jenny.

In the late 1850s, the Hauck family moved again, this time to the frontier town of Sumner City, north of Kansas City and situated on the Missouri River. With her father working as a boatbuilder and her mother running a boarding house, Minnie was often on her own. She took advantage of her freedom to stroll across the prairies, often winding up in a nearby Native American camp. As she recalled, "The Indians would call me their 'Prairie flower'; they would give me fruit, carry me in their arms, and take me for a ride on their little ponies. Their children would show me how to string a bow and shoot an arrow, would dance or have a sham battle or a pony race for my amusement, and, towards evening, they would accompany me a good distance on my homeward way." Alarmed by their wandering daughter, the Haucks sent her off to a girl's seminary in nearby Leavenworth. Here, her irrepressible spirits quickly got her expelled.

After a fierce flood on the Missouri River virtually destroyed Sumner City, the Haucks again decided to move on. James Hauck built a boat, loaded it with his small family and all their worldly possessions, and they set sail for New Orleans where life would be easier. Just south of St. Louis, however, their houseboat was rammed by a steamboat and demolished. As Minnie and her parents floated in the water, clutching debris from their vessel, they watched everything they owned sink into the mighty Mississippi. The steamboat's captain rescued the shaken family and took them free of charge to their destination. By the time the Haucks arrived in New Orleans, the Civil War had begun, the city found itself blockaded, and economic life was at a virtual standstill. Soon, however, Minnie's parents were able to find employment and a modest lifestyle was enjoyed by the family. Minnie attended the Belleville School and took singing lessons from a European basso, Gregorio Curto.

Before long, she was facing an audience, singing in the city's grand opera house at a charity concert to raise money for wounded soldiers.

Convinced of her talent, Minnie's parents again relocated. In late 1862, with the Civil War still raging, they sailed from New Orleans to the Florida Keys, and from there to New York City. In Manhattan, Minnie soon became a musical sensation, regularly singing in the homes of the social elite, including Naval Commodore Ritchie, August and Caroline Perry Belmont , and racetrack entrepreneur Leonard Jerome, father of Jennie Jerome (Churchill) . After a brief but intensive course of study with Achille Errani, who had gained fame as a teacher of a number of successful American sopranos, Minnie made her operatic debut, singing in La Sonnambula at the Brooklyn Academy of Music on October 13,1866. A month later, she made her Manhattan debut at the Winter Garden, singing the role of Prascovia in Giacomo Meyerbeer's L'Étoile du Nord. The New York Times' assessment of her performance was highly enthusiastic, noting that she was "an artist who in time will rank among the foremost. Her power is quite equal to her brilliancy, and experience will beyond a doubt develop in her an artist quite equal, if not superior, to any we have yet heard."

Youthful and supremely confident, Minnie Hauk quickly emerged as a prima donna, adding major roles to her repertoire at a dizzying pace. The only component left to secure her career was a trip to Europe, and funds for this undertaking were provided by the music publisher Gustav Schirmer, whose confidence in Hauk's talents was repaid quite literally with interest soon after her first engagements on the Continent. Traveling with her mother—who would serve as Hauk's best friend, constant companion and closest adviser—the young soprano's first stop was London. Although no engagements materialized in the British capital, Hauk attended the opera, made a number of important connections, and carefully studied the singing techniques of several of the city's reigning singing stars including Adelina Patti and Christine Nilsson . In Paris, however, she secured an engagement in the role of Amina in La Sonnambula. Hauk became the instant darling of the French public not only because of her vocal and dramatic talents, but also because her colorful American frontier background provided great copy for the local newspapers, which described her in fantastic terms as a half-civilized Pocahontas figure who in the wilds of the New World was accustomed to riding a mustang bareback.

Within months of her Paris debut, Hauk was singing in the major opera houses of London, The Hague, and Russia. In Russia, she appeared in both Moscow and St. Petersburg's imperial opera houses, and it was during these Russian engagements that she began to earn a reputation for displaying a fiery stage temperament. A simmering artistic jealousy between Hauk and Désirée Artôt , then one of the leading sopranos on the Russian operatic scene, came to a head during a performance of Don Giovanni. Artôt's husband, Mariano Padilla, jerked Hauk's hand at the end of their duet in Act I. Convinced that Padilla was intentionally trying to cause her to break a high note, Hauk slapped him in the face. The audience, entranced by the events, gave both singers such an ovation that the entire duet had to be repeated.

Hauk's Russian successes made her an internationally recognized singing sensation. For the next decade, she would sing mostly in Vienna and Berlin, making her Viennese debut in May 1870. She quickly mastered the German language both to meet the requirements of daily living and because the non-German operatic repertory was customarily sung in German. At the time of her first appearance in Vienna in the role of Marguerite in Gounod's Faust, Hauk had not yet completely mastered the complexities of German. A slip-up she made in performance served to endear her to Vienna's music enthusiasts: responding to Faust, she told him she intended to go home ungekleidet (undressed) instead of the correct word, unbegleitet (unaccompanied). The sophisticated Viennese audience was delighted by the imperfect German of the American girl from the Wild West, and she became an immediate star. She enjoyed a comparable success at the Berlin Opera, where she starred in, among other popular operas of the day, Goetz's Taming of the Shrew.

Despite her late and rather sketchy vocal training, Minnie Hauk was a quick study and mastered not only the German language, adding dozens of roles to her repertory in a brief period, but also learned roles in exotic languages. In Budapest, for example, she sang the role of Maria in Ferenc Erkel's Hunyadi László in the original Magyar, even though she never learned a sentence of conversational Hungarian and learned the words, as she would later note, "like a parrot." Now a world-class artist, Hauk met many of the composers of operas she starred in including Richard Wagner whom she met after a Budapest performance of Der fliegende Holländer. On that occasion, she told him that she always made an effort to "act in accordance with the symphonic indications of the orchestra." A grateful Wagner replied, "That is right, that is right! Thank goodness! Here is an artist who knows how to act and sing according to my intentions."

Always willing to sing in contemporary operas that were fresh to the ear and even controversial, Hauk was glad for the opportunity to sing in Bizet's Carmen. In May 1878, when that opera was only three years old, she sang in the starring role at the Théâtre de la Monnaie in Brussels. Her performance was a huge hit, at least in part because in order to totally master her role she had immersed herself in the French language, read the Prosper Mérimée short story the opera was based on, and took dancing lessons from the Monnaie's ballet master. On June 22, 1879, Hauk performed Carmen in London, singing it in Italian, the operatic language favored by British audiences of the day. Here, too, it was an immense success. Although she married the wealthy Austrian journalist and globetrotter Baron Ernst von Hesse-Wartegg in 1881, Hauk had no intentions of abandoning her immensely successful singing career, which by the 1880s had made her name as well-known in the United States as it had become in Europe during the previous decade. She toured constantly in the United States and Canada, and was invited by President Chester A. Arthur to perform at the White House.

Fearing that her success as Carmen might doom her to being seen as a one-role artist, Hauk was constantly searching for, and mastering, new roles, which included Hector Berlioz' rarely performed La Damnation de Faust. Among other novelties, Hauk introduced Massenet's Manon to the United States in December 1885. She sang at New York's Metropolitan Opera during the 1890–91 season, and her appearance in Carmen on April 2, 1891, marked her final New York performance. As a last hurrah for her fans, she founded the Minnie Hauk Grand Opera Company in mid-1891 to make an American tour. During this tour in Chicago on September 30, 1891, she appeared in Mascagni's sensational new opera Cavalleria Rusticana, in what was one of its earliest American performances. With the death of her mother in 1896, Minnie Hauk retired from the hectic but stimulating life of an operatic prima donna. She and her husband retired to their Swiss villa outside of Lucerne, the same Tribschen that Richard Wagner had occupied at the time he composed his masterpieces Die Meistersinger von Nürnberg and the mighty Ring cycle of music dramas. Here, she and her husband lived an idyllic existence until World War I destroyed their Austrian investments. After her husband died in 1918, Hauk became virtually destitute, a situation she attempted to remedy by dictating her memoirs, even though she was enfeebled and blind. Fortunately, operatic star Geraldine Farrar and the Music Lovers Foundation raised sufficient funds to make Hauk's final years financially comfortable. Minnie Hauk died at Villa Tribschen on February 6, 1929.

On the photo she is seen as Marguerite in Gounod's "Faust".

#Minnie Hauk #dramatic soprano #soprano #opera #bel cano #mezzo-soprano #opera singer #music history #Faust #Marguerite #prima donna #aria #charles gounod #hauk #classical music #covent garden #royal opera house #opera diva #diva

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wiedzmina-blog · 7 years

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Norwegian / old norse names and places

Every now and then I come across a book, movie, TV-series, fanfic, game or whatever, that mention a fictional "Norwegian" or "norse" place or person, and it just sounds so wrong it makes me either cringe or ROFL. Really. I still haven't recovered from the 1995 X-files episode, "Død Kalm", which took us to the port of "Tildeskan" where we met "Henry Trondheim", "Halverson" and "Olafsson". Hopefully this list will keep others from being that “creative” with names. :)

Common names for places, towns and villages in Norway

These names are very generic and suitable for a place, village or town anywhere (and pretty much any time) in Norway. Mix and match prefixes with suffixes for diversity. Bonus: All of these can also be used as surnames. Name (meaning) - usage

Nes (headland, cape, ness) - Standalone Bø (fenced-in field on a farm) - Standalone Fjell (mountain) - Standalone or prefix/suffix: Fjell- / -fjell Haug (small hill / large mound) - Standalone or prefix/suffix: Haug- / -haug Vik, Viken, Vika (inlet, the inlet, the inlet) - Standalone or prefix/suffix: Vik- / -viken / -vika Ås, Åsen (hill, the hill (larger than "Bakken")) - Standalone or prefix/suffix: Dal, Dalen (valley, the valley) - Standalone or prefix/suffix: Berg (small mountain) - Standalone or prefix/suffix: Berg(s)- / -berg Sand (sand) - Standalone or prefix/suffix: Sand- / -sand Strand (beach) - Standalone or prefix/suffix: Strand- / -strand Li (hill) - Standalone or prefix/suffix: Li- / -li Gran (spruce) - Standalone or prefix: Gran- Bratt (steep) - prefix only: Bratt- Myr (bog, mire) - prefix only: Myr- Neset, Nesset (the headland, the cape, the ness) - Standalone or suffix: -neset / -nesset Odden (foreland, headland) - Standalone or suffix: -odden Våg (cove, bay) - Standalone or suffix: -våg Lund (grove) - Standalone or suffix: -lund Sund (sound, strait) - Standalone or suffix: -sund Skog (forest) prefix/suffix: Skog- / -skog Øy (island) prefix/suffix: Øy- / -øy øya (the island) - suffix only: -øya bakken (the hill) - suffix only: -bakken gard / gård / gården (farm / farm / the farm) - suffix only: -gard / -gård / -gården elv, -elva (river, the river) suffix only: -elv / -elva stad (old word for town/place) suffix only: -stad vannet (the lake) - suffix only: -vannet

Common words that can be used as prefix to any of the suffixes above Svart- (black) Lille- (little/small) Sol- (sun) Brei-/Bred- (wide) Stor- (big) Lang- (long)

Common Norwegian surnames (contemporary)

Heredatory surnames didn't become mandatory in Norway until 1923. Many took the name from the farm or place they lived, or just changed their primary patronyms into hereditary patronyms. Example: Helgessønn/Helgesdatter (son of Helge / daughter of Helge) became Helgesen.

Alm Andersen Anderssen Antonsen Aspelund Bakke Bakken Bang Berg Bjerkan Bråthen Christensen Corneliussen Dahl Dahlberg Danielsen Dyrnes Dørum Eide Ellingsen Erdal Eriksen Falch Fredriksen Foss Fure Fylling Gabrielsen Gran Grønning Halvorsen Hansen Hanssen Hay Hoff Holm Holt Husby Isaksen Iversen Jacobsen Jensen Jenssen Johansen Karlsen Klausen Konradsen Kristensen Kristiansen Larsen Larssen Lie Lien Lund Løvold Magnussen Meyer Mikalsen Mo Moen Myhre Myklebust Mørk Ness Nilsen Olavsen Olsen Paulsen Pettersen Prestegård Rasmussen Riise Rogstad Ruud Simonsen Solbakken Solli Stokke Strøm Sund Svendsen Thorvaldsen Torp Thune Tønnesen Ueland Ulven Urdal Vik Vinje Wahl Wik Wilhelmsen Zakariassen Ødegård Årseth Årvik Ås, Aas Åsen, Aasen

Common Norwegian names -- 1980 - present

Men

Anders André Andreas Are Arne Atle Bjørn Cato Chris Christian, Kristian Christoffer, Kristoffer Daniel David Dennis Elias Emil Espen Erik, Eric Eirik Fredrik Filip Geir Harald Helge Hans Henning Håkon, Haakon Håvard Isak Jan Joachim Johan Johannes John, Jon Johnny Jonas Jonathan Kim Kristian, Christian Kristoffer, Christoffer Lars Lucas, Lukas Mads, Mats Magnus Martin Michael, Mikael Morten Niklas Nils Odin Ole Ove Paul Per Peter, Petter Preben Pål Richard, Rikard Roger Sebastian Simen Simon Sindre Sondre Stian Terje Thomas Thor, Tor Thore, Tore Vegard Werner William Øystein Åge Åsmund

Women

Andrea Ane, Anne Anette, Annette Annika, Anniken Astrid Bente Camilla Carina Cathrine Celine Charlotte Christin, Kristin Christina, Kristina Christine, Kristine Elin, Eline Elise Elisabeth Emilie Eva Frida Grete, Grethe Hanne Hege Heidi Helene Hilde Ida Ine Ingrid Ingvill, Ingvild Isabel, Isabell, Isabelle Iselin Jannicke Janine Jeanette Jennie, Jenny Julia, Julie Karoline (Kine) Katrin, Katrine Kristin, Christin Lea, Leah Lena, Lene Linda Line Linn Linnea Lise, Lisa Liv, Live Mai, May Maja Malin Margrete, Margrethe Mari, Maria, Marie Mariann, Marianne Marte, Marthe Mette Monica Nina Nora Oda Pia Ragnhild Randi Rikke Sara, Sarah Silje Siv Stina, Stine Susann, Susanne Tanja Tina, Tine Tiril Tone Trine Vilde Vera Veronica Wenche Åse Åshild

Common Norwegian names - 1800 - 1980

Men Aksel Albert Anders Andreas Anker Ansgar Arne Arnt Arve Asle Atle Birger Bård Charles Edmund Edvard Egon Erling Even Fred Fredrik Frode Geir Georg Gunnar Gunvald Gustav Harald Helge Hilmar Håkon, Haakon Ivar Ingvar Jens Jesper Jørgen Joakim Karl Karsten, Karstein Kjell Klaus Kolbein Kolbjørn Kristian Kåre Lars Lavrans Leif Lossius Ludvig Magne Magnus Nikolai Nils Odd Oddvar Odin Ola Olai Olaf Olav Ole Omar Oscar, Oskar Peder Per Petter Philip, Phillip Pål Ragnar Rikard Roald Roar (also Hroar) Rolf Rune Sigurd Sigvard, Sigvart Simon Svein Sverre Tarjei Terje Toralf, Thoralf Torbjørn, Thorbjørn Torleif, Thorleif Torstein, Thorstein Torvald, Thorvald Trond Ulf Ulrik Valdemar Wilhelm Willy Åge

Women

Albertine Alice, Alise Alma Anita Anna Annbjørg Asbjørg Astrid Aud Bente Berit Birgit Birgitte Bjørg Bjørgun Bodil Borghild Dagny Dagrun Edel Ella Ellen Elsa Fredrikke Frida Gerd Gjertrud Gunhild Gyda Hanna, Hannah Helga Henny Herdis Hilda Hilde Hjørdis Ingeborg Inger Irene Johanna, Johanne Jorun, Jorunn Josefine Judith Kari Karin Kirsten Kitty Kjersti Laila Lilli, Lilly Lisa, Lise Liv Lovise Mathilde Margaret Marit Martha Molly Nanna Oddrun Oddveig Olga Ragna Ragnhild Rigmor Sara Signe Sissel Solbjørg Solveig Solvår Svanhild Sylvi Sølvi Tora Torhild, Toril, Torill Torun, Torunn Tove Valborg Ylva Åse Åshild

Names usage Double names, like Ragnhild Johanne or Ole Martin are common in Norway. Just keep them as two names and don't use "-", and you'll be safe, even if it ends up a tongue twister. Using only one of two given names is also common practice.

In Norway everyone is on a first name basis. Students call teachers and other kids' parents by their first name, workers call their boss by their first name, we call our Prime Minister by her first name (journalists will use her title when speaking to her though). Some senior citizens still use surnames and titles when speaking of or to people their own age.

There are some exceptions. For example, a doctor may be referred to as Dr. Lastname when we speak of them, but first name is used when speaking to them. A priest is "the priest" when speaking of him/her and their first name is used when spaking to them. In the millitary only surnames (and ranks) are used. If you meet Harald, the King of Norway, in an official setting you will refer to him as "Kongen" (the king). If you run into him at the gas station, or while hiking, he is "Harald".

If you don't know someone's name it is okay to use their title, or just say "you".

Names for pets (contemporary)

Dogs Laika (f) Bamse (m) (bear) Tinka (f) Loke/Loki (m) + characters from TV/film/books...

Cats Melis (m/f) (powdered sugar) Mango (m/f) (mango) Pus (f) (kitty) Mons (m) (tomcat) Nala (f) Pusur (m) (Garfield) Felix (m) Simba (m) + characters from TV/film/books...

Horses Pajazz (m) Mulan (f) Balder (m) - cold blood Kompis (m) (pal) Freya (f) - cold blood + characters from TV/film/books...

Rabbits Trampe (m) (Thumper) Trulte (f) + characters from TV/film/books...

Cows (yes, I am serious) Dagros Rosa Mira Luna Sara + characters from TV/film - Disney is popular, as are the Kardashians :)

Road and street names

Storgata (usually the main street) Kongens gate (the king's street) Dronningens gate (the queen's street) Jernbanegata (railroad street) Jernbaneveien (railroad road) Sjøgata (ocean street) Sjøveien, Sjøvegen (ocean road) Skolegata (school street) Torvgata (plaza street) Industrigata (industrial street) Industriveien (industrial road)

Prefixes Blåbær- (blueberry) Bringebær- (raspberry) Bjørke- (birch) Aspe- (asp) Kastanje- (chestnut) Solsikke- (sun flower) Blåklokke- (blue bell) Nype- (rosehip) Kirke- (church) Park- (park)

Suffixes -veien, -vegen (the road) -stien (the path)

Other Torvet (the plaza) - standalone or suffix: -torvet Havna (the port) - standalone or suffix: -havna Kaia (the port) - standalone or suffix: -kaia

Safe solution: use a first name or surname as prefix.

Old norse

Men’s names Agnarr (Agnar) Alfr (Alf) Ámundi (Amund) Ánarr Árngrimr (Arngrim) Askr (Ask) Auðun (Audun) Baldr (Balder) Beinir Bjørn Burr Borkr Dagfinnr (Dagfinn) Davið (David) Drengr Durinn Einarr (Einar) Eirikr (Eirik) Eivindr (Eivind) Erlingr (Erling) Fafnir Flóki Freyr (Frey) Fuldarr Galinn Gautarr (Gaute) Gegnir Geirr (Geir) Glóinn Grímarr (Grimar) Hafli Hakon Hallsteinn (Hallstein) Haraldr (Harald) Haukr (Hauk) Heðinn (Hedin, Hedinn) Helgi (Helge) Hrafn, Hrafni (Ravn) Hrafnkell (Ravnkjell) Iarl (Jarl) Ingolfr (Ingolf) Iuar (Ivar) Jafnhárr Jón Jóngeirr Kál Kiaran Klaus Knútr (Knut) Kolgrimr (Kolgrim) Kolr (Kol) Leifr (Leif) Loki Lyngvi Magnus Mikjáll (Mikal, Mikkel) Mór Morði Nesbjørn Nokkvi Oddr (Odd) Oddbjørn Oðin (Odin) Olafr (Olaf) Ormr (Orm) Otr Ouden Pálni Pedr Ragnarr (Ragnar) Ragnvaldr (Ragnvald) Randr (Rand) Róaldr (Roald) Rólfr (Rolf) Salvi Sigarr (Sigar) Sigbjørn Sigurðr (Sigurd) Skarpe Snorri (Snorre) Steinn (Stein) Sveinn (Svein) Teitr Þor (Thor/Tor) Þórbjørn (Thorbjørn/Torbjørn) Þorsteinn (Thorstein/Torstein) Tryggr (Trygg) Týr Ulfár Ulfheðinn (Ulvhedin) Ulfr (Ulf) Vakr Vani Veigr Viðarr (Vidar) Yngvarr (Yngvar) Æsi

Women's names

Anna Arnfriðr (Arnfrid) Ása Bera Bergdís (Bergdis) Biørg (Bjørg) Cecilia Cecilie Christina Dagný (Dagny) Dagrún (Dagrun) Dís Dísa Edda Elin Ellisif (Ellisiv) Freyja (Freya) Friða (Frida) Frigg Gerðr (Gerd) Gertrud Grima Gyða (Gyda) Hadda Hallbéra Hallkatla Herdís (Herdis) Hildigunnr (Hildegunn) Huld Hvít Ida Iðunn (Idun, Idunn) Ingríðr (Ingrid) Johanna Jórunn (Jorun, Jorunn) Juliana Katla Katrine Kristín (Kristin) Leikný (Leikny) Lif (Liv) Magnhildr (Magnhild) Mjøll Myrgiol Nál Nanna Nótt Oda Oddný (Oddny) Ólaug (Olaug) Rafnhildr (Ragnhild) Rán Rannveíg Ríkví (Rikvi, Rikke) Rúna (Runa) Roskva Sága (Saga) Sif (Siv) Sigriðr (Sigrid) Skaði (Skadi) Skuld Svana Sýn Solveig Tekla Tóra (Tora) Trana Ulfhildr (Ulfhild) Una Urðr (Urd) Valborg Vigdís (Viigdis) Vírún Yngvildr (Ingvill, Ingvild) Yrsa

Bynames Bynames, or nicknames, could be neutral, praising or condescending. Usually bynames described a person's

body, bodyparts, bodily features

age

kinship and descent

territorial origin

knowledge, belief, spirituality

clothing, armour

occupation, social position

nature

Examples: Eirik Blodøks (Eirik Blood-Axe), Gammel-Anna (old Anna), Halte-Ása (limping Ása). I suggest that you stick with English for bynames, or use (relatively) modern language if you are writing in Norwegian.

Surnames

Surnames weren't really a thing until 1923 when they became mandatory. Before 1923 patronyms (son/daughter of) were used, and the name of the farm you lived on was often added as an address.

For instance: Helgi Eiriksøn (Helgi, son of Eirik), who lived at the farm called Vollr (grass field), would be called Helgi Eiriksøn Vollr. If he moved to the farm called Haugr his name would change to Helgi Eiriksøn Haugr.

Patronyms

Men: Use father's first name and add -sen /-son /-sønn Women: Use father's first name and add -dotter / -dottir / -datter

Farm names

Farm names were usually relevant and derived from either the location, a nearby landmark, nature or from occupation. I suggest you stick with the modern forms for farm names.

Old Norse (meaning) - modern Bekkr (stream) - Bekk, Bekken Dalr (valley) - Dal, Dahl Horn (horn) - Horn Vollr (field) - Vold, Volden Lundr (grove) - Lund

The list of common names for places/villages/towns is still valid, although the spelling is modern. Just keep it simple and make "clever" combos based on meaning.

#norwegian names #norse names #writing tips

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goodqueenaly · 8 years

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Do you think that Aegon the unlikely, after Duncan married Jenny, intended to give the prince of Dragonflies Summerhall as his seat since Duncan had forgone his claim to the iron throne?

I very much doubt it. To be sure, courtesy titles for the participants in and products of morganatic unions were not unknown in our world. For example, Duke Alexander of Wurttemberg, of the junior branch of the Wurttemberg royal line, morganatically married a Hungarian countess; their son, Francis, was made a Prince of Teck and later Duke of Teck by his cousin, King William I of Wurttemberg (hence why his daughter was known as Princess Mary of Teck; she married the future King George V of Great Britain and was the grandmother of the current Queen). Likewise, I’ve talked about the Battenbergs before; the matriarch of that line, Julia von Hauke, was made Countess and later Princess of Battenberg (a small town in Hesse) by her brother-in-law, the Grand Duke of Hesse und bei Rhine.

That being said, I don’t think Prince Duncan would have gotten Summerhall. For one, King Aegon V had good reason to be wroth with his eldest son: not only had Aegon “demanded” that his heir put aside his commoner bride (to no avail), but the king had also faced a short rebellion from his longtime supporter Lyonel Baratheon over Duncan’s broken betrothal with his daughter. While Duncan and Jenny were apparently eventually welcomed back to court (since Barristan Selmy remembers “Lady Jenny”, and it was from Jenny’s woods witch friend that then-Prince Jaehaerys heard that prince that was promised was to be born of his line), I could see where this reconciliation might have been slow and never fully complete. King Aegon V might have felt that he did not want to reward the son who had so dramatically defied him with one of the two Targaryen princely seats.

Moreover, it would have been bad symbol politics to given Duncan Summerhall. After all, the last known Prince of Summerhall was Prince Daeron “the Drunken”, then heir to his father King Maekar, who had preferred the palatial seat to gloomy and grim Dragonstone. If King Aegon V gave Duncan Summerhall, it might seem to some as though Aegon was still considering Duncan his heir - naming him Prince of a seat that had last belonged to an heir apparent. If Daemon Blackfyre could use his being given the sword of the Targaryen kings as support for his claim to the throne (and cause decades of grief for the monarchy), it stood to reason that the legitimately and royally born Duncan (or those who wanted Duncan on the throne) could use his being given Summerhall as proof that Aegon was keeping him in the succession. Naturally, the king might have had no desire to send such a message when he so vehemently disapproved of Duncan’s nuptial choices.

#asoiaf meta #morganatic marriage #aegon v targaryen #jenny of oldstones #summerhall #Duncan prince of dragonstone

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artwalktv · 7 years

Video

vimeo

Director: Andrew Thomas Huang http://bit.ly/2nB18Kk Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman Cinematographer Oliver Millar Production Designer Grace Alie Dress by Gucci Choreographer Nina McNeely Avatar Dancer Leo Morimune Makeup by Andrew Gallimore Hair by Johnny Stuntz Visual Effects by WOLF & CROW Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley 1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter Visual Effects by Wolf & Crow Executive Producer & Managing Director: Kevin Shapiro VFX Lead: Adam Swaab CG Lead: Matt Berenty Compositing Lead: Matt Lavoy Character Animation Lead: Mitch Gonzalez 2D Animator: Kevin Stein 3D Animator: Scott Pinson Compositor: Kevin Kim VFX Animator: Wilfred Driscoll On Set Supervision: Benoit Mannequin Colorist: Mark Wilenkin Senior Producer: Matthew Olson Associate Producer: Sophia Richard A Strangelove Films Production

#Videos & Films

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artesonado · 5 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

Visual Effects by Wolf & Crow Executive Producer & Managing Director: Kevin Shapiro VFX Lead: Adam Swaab CG Lead: Matt Berenty Compositing Lead: Matt Lavoy Character Animation Lead: Mitch Gonzalez 2D Animator: Kevin Stein 3D Animator: Scott Pinson Compositor: Kevin Kim VFX Animator: Wilfred Driscoll On Set Supervision: Benoit Mannequin Colorist: Mark Wilenkin Senior Producer: Matthew Olson Associate Producer: Sophia Richard

A Strangelove Films Production

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technologiclee · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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r-level · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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oscarloro79 · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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str9led · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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nayiobitzuniverse-blog · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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kattaluna · 7 years

Video

vimeo

Björk - The Gate from Andrew Thomas Huang on Vimeo.

Director: Andrew Thomas Huang andrewthomashuang.com

Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai Producers: Sara Nassim & Jeremy Hartman

Cinematographer Oliver Millar Production Designer Grace Alie

Dress by Gucci

Choreographer Nina McNeely Avatar Dancer Leo Morimune

Makeup by Andrew Gallimore Hair by Johnny Stuntz

Visual Effects by WOLF & CROW

Production Supervisor Conor Bailey Production Coordinator Jenni Lopez 1st A.D. George Nessis

Art Director Alex Nawrocki Art PA Carlyn Hauk Choreography Assistant Danny Axley

1st A.C. Wayne Goring 2nd A.C. Dom Jones DIT Mark Wilenkin Crane Operators Christian Hurley & Derrick Rose Pursuit Systems Operator Yuriy Fuks

Gaffer Drew Valenti ACLT Joey Waring SLT Will Martinez Board op Derek Hoffman Key Grip Chris Bauer Best Boy Grip Christopher Pevey Grip Steve Coreas Grip Ricky Walter Grip Michael Telfer

Dress by Gucci Creative Director Alessandro Michele VIP Designer Daniel Del Core Pattern Maker/Modelist Carlos Garcia Tailor Paola Biasini

MOTION CAPTURE by Animatrik Studios Tom Armbruster VTR/Playback Matt Hillyer Script Supervisor Nathan Snyder

Office PA Nick Jaicomo Truck PA Doug Koontz AD PA Manny Jimenez Set PAs Jim Ryan & Cecilia Sweet-Coll Craft Service Paloma Aguirre Site Rep John Dexter

A Strangelove Films Production

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opera-ghosts · 3 years

Text

Adelina Patti's voice was one of moderate power, but great range and of wonderful flexibility. Her production was faultless, and she was, and is, undoubtedly, one of the greatest mistresses of vocalization of the century. As an actress, she could not com- pare with many other singers, and her greatest successes were gained in such operas as made the least demand upon the histrionic capabilities of the performer. Her repertoire included about thirty operas, mostly of the Italian school, though she also sang in the operas of Meyerbeer and Gounod, and others. She was one of the many " Carmens ; " but while her interpretation vocally was excellent, she was by no means equal dramatically to Mile. Hauk, and much less so to Calv6, the latest and by far the greatest interpreter of that role. One of the most notable events of Madame Patti's career occurred when, in 1868, at the funeral of Rossini, the com- poser, she sang with Madame Alboni the beautiful duet, " Quis est Homo," from Ros- sini's " Stabat Mater." On that occasion such an assembly of noted musicians and singers was gathered together to honor the great composer as probably never before met under the same roof. To hear that beautiful music, rendered by two such artists over the grave of the composer, was to feel in the truest sense the genius of Rossini, and the part that he played in the music of the nineteenth century.

The name of Patti has always been asso- ciated with high prices, and not without cause ; for, although other singers have received larger sums for isolated engagements, none have ever succeeded in maintaining such a uniformly high rate.

When she returned to America in 1881, after an absence of some twenty years, Patti held mistaken notions about the American people, and her early concerts were a bitter disappointment. High prices and hackneyed songs did not suit the public, and in order to make a success of the tour Madame Patti was obliged to throw over her French manager, and employ an American (Henry E. Abbey) who knew the public, and who immediately cut the prices down to one-half. Eventually the season was suc- cessful, both artistically and financially, her voice showing but little sign of wear, and her execution being as brilliant as ever. At Brooklyn the people took the horses out of her carriage, and dragged her home, one facetious writer remarking that he saw no reason for taking away her horses, and sub- stituting asses. The following clever rhyme, at the expense of her manager, taken from " Puck,' r voices the opinion of the public very neatly, in regard to Patti's tour, in 1881-2: Patti cake, Patti cake, Franchi man ! " So I do, messieurs, comme vite as I can." " Roulez et tournez et marquez ' with care,' Et posez au publique a ten dollars a chair."

Farinelli is said to have made $30,000 per annum, a very large sum for the times in which he lived. Catalani's profits ran almost to $100,000 a season. Malibran re- ceived $95,000 for eighty-five performances at La Scala. Jenny Lind, for ninety-five concerts, under Barnum's management, re- ceived $208,675, all good figures. But Rubini is said to have made $11,500 at one concert, and Tamagno is the highest-priced tenor of the present day.

Patti at one time made a contract for a series of performances at $4,400 a night, and later on her fee was $5,000 a night, paid in advance, but when she came to Boston in 1882, and sang in three performances given in a week, her share of the receipts was $20,895. The attendance at the Saturday matinee was 9,142 people, and her share of the receipts for that performance alone was $8,395.

Madame Patti always had the advantage of excellent management. Until her mar- riage with the Marquis de Caux she was under the management of her brother-in-law, Mau- rice Strakosch, and so assiduous was he in his protection of his young star from unnec- essary wear and tear that he became the subject of many jokes. It is said that he occasionally took her place at rehearsals, that when visitors called on her they saw him instead, and some people, with vivid imagination, declared that Strakosch sat for Patti' s photograph, and that he once offered to receive a declaration of love for her.

One is apt to doubt the necessity of all this management, for Patti seems to have been admirably adapted for self-defence, and even for aggression in financial matters. An amusing anecdote is told of her by Max Maretzek, who, one day, when she was a small child, in a moment of generosity prom- ised her a doll, or, as some accounts have it, some bon-bons as a reward for singing in a concert. It was to be her very first appear- ance. Patti did not forget the promise, and when it was nearly time for her to sing she asked for her doll. Maretzek had forgotten it, and promised that she should have it after the concert, or the next day. But no, she must have it first, or she would not go on and sing. The poor man was in despair. It was late and stores were all closed, but by some means he succeeded in getting the bribe, whether dolls or bon-bons, and, rushing back in breathless haste, he handed it to her. Then she became cheerful at once, and giving it to her mother to be taken care of, she went on and performed her part in the concert.

One of the most amusing of these anec- dotes was told by Colonel Mapleson, the well-known impresario, who says that no one ever approached Madame Patti in the art of obtaining from a manager the great- est possible sum that he could contrive by any possibility to pay. In 1882, owing to the competition of Henry Abbey, the Ameri- can impresario, Mapleson was obliged to raise Patti's salary from $1,000 per night to $4,000, and, finally, to $5,000 per night, a sum previously unheard-of in the annals of opera. The price, moreover, was to be paid at two o'clock of the day on which Patti was to sing.

On the second night of the engagement at Boston, Madame Patti was billed to sing in "Traviata." Expenses had been heavy and the funds were low, so that when Signor Franchi, Patti's agent, called at the theatre promptly at two o'clock, only $4,000 could be scraped together. Signor Franchi was indignant, and declared that the contract was broken, and that Madame Patti would not sing. He refused to take the $4,000, and went off to report the matter to the prima donna. At four o'clock, Signer Franchi returned to the theatre, and con- gratulated Colonel Mapleson on his facility for managing Madame Patti, saying that she would do for the colonel that which she would do for no other impresario. In short, Patti would take the $4,000 and dress for her part, all except her shoes. She would arrive at the theatre at the reg- ular time, and when the remaining paltry $1,000 was forthcoming she would put on her shoes and be ready to go on the stage.

Everything happened as Patti had prom- ised. She arrived at the theatre costumed as Violetta, but minus her shoes. Franchi called at the box-office, but only $800 was on hand. The genial Signer took the money and returned to Patti' s room. He soon ap- peared again to say that Madame Patti was all ready except one shoe, which she could not put on until the remaining $200 was paid. It was already time for the perform- ance to begin, but people were still coming in, and after some slight delay Signor Franchi was able to go in triumph to Madame Patti with the balance of the amount. Patti put on her other shoe and proceeded to the stage. She made her entrance at the proper time, her face radiant with smiles, and no one in the audience had any idea of the stirring events which had just taken place.

In later years, when Madame Patti in- vested some of her fortune in the beautiful castle at Craig-y-Nos, in Wales, the people employed to put the place into repair, know- ing of her reputed wealth and extravagance, sent in enormous bills. But Madame Patti was not to be imposed upon, and the result was that the amounts melted down consider- ably under the gentle influence of the law. The unkindest cut of all was, however, when a Belgian gentleman, who had amused him- self at Craig-y-Nos, who had fished, shot, and been entertained, but who always managed to be present during discussions on business, sent in a bill of ,3,000 for his services as agent.

Under the management of Colonel Maple- son, Patti travelled in most luxurious style. She had a special car which is said to have cost $65,000, and a whole retinue of ser- vants. At Cheyenne, the legislature and assembly adjourned and chartered a special car to meet the operatic train. A military band was at the station, and nearly the whole population turned out to witness the arrival. Tickets to the opera were ten dollars each, and there was an audience of 3,000 people.

California seems to have been considered doubtful territory, for Patti left the question undecided as to whether she would go so far. When she did arrive it was merely as a vis- itor, but her delight with the "heavenly place " was so great that she declared she must sing there. The necessary delay in- curred by sending to Chicago for numerous trunks containing her wardrobe, gave suffi- cient time for the excitement in San Fran- cisco to work up to fever heat. Tickets sold at unheard-of prices, and more or less damage to property was done in the scramble.

Adelina Patti made her first matrimonial venture in 1868, when she was united to the Marquis de Caux, an event which did not interfere with her operatic career, for she filled an engagement of six weeks at Paris, and then went on to St. Petersburg, where the town opened a subscription which amounted to 100,000 rubles, and presented her with a diamond necklace.

In 1885 Madame Patti obtained a divorce from the Marquis de Caux, from whom she had separated in 1877, and the following year married Ernest Nicolini, the tenor singer. Nicolini was a man of fine stage presence, and, for a time, after the retire- ment of Mario, was considered the best tenor on the stage. His voice was of mod- erate power and of pleasing quality, but his tremolo was, to say the least, extensive. For some years Madame Patti declined every engagement in which Nicolini was not included, until the public indignation found vent in many protests. Signer Nicolini seems to have been a devoted and admiring husband, and to have entered heartily into the pleasures of the luxurious life of Craig-y-Nos. He died in January, 1898.

After some years of retirement from the operatic stage, during which she sang only in concerts, Patti made a reappearance at Covent Garden in 1895, and showed that her voice, notwithstanding nearly forty years of use, was wonderfully well preserved. Nev- ertheless it was a disappointment to those who had heard her in her prime. As a reason for its preservation she says that she never sings when she is tired, and never strains for high notes. Sir Morell Macken- zie, the great throat specialist, said that she had the most wonderful throat he ever saw. It was the only one in which the vocal cords were in absolutely perfect condition after many years of use. They were not strained, warped, or roughened in the slight- est degree, but absolutely perfect, and there was no reason why they should not remain so for ten or even twenty years longer. It was by her voice alone that she charmed and delighted her audiences, and she will doubt- less be recorded as the possessor of the most perfect voice of the nineteenth century. She witnessed the rise of many rivals, but none ever equalled her in popularity, though many excelled her in dramatic powers. Lucca, Sembrich, Nilsson, were all greater as ac- tresses, but of all the rivals of her prime only Sembrich and Albani remain, and sev- eral years must elapse before their careers will equal the length of Patti's.

Probably no other singer has succeeded in amassing so great a fortune as Madame Patti. Her earnings enabled her to purchase, in 1878, the beautiful estate in Wales, which she remodelled to suit her own ideas. Here she has lived in regal style and entertained lavishly many of the most noted people of the civilized world.

Her wealth is by no means confined to real estate, for she has a rare collection of jewels, said to be the largest and most bril- liant owned by any of the modern actresses and opera singers. One of her gowns, worn in the third act of " La Traviata," was cov- ered with precious stones to the value of $500,000.

Madame Patti's most popular r61es were Juliet and Aida, and though she created no new parts of importance, she has amply fulfilled the traditional role of prima donna in matters of caprice and exaction, and has even created some new precedents. In 1898 she was still before the public, singing in concerts in London and elsewhere.

via Famous singers of to-day and yesterday by Lahee, Henry Charles, 1856-1953.

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