Célestine Galli-Marié by Saint-Edme
Célestine Galli-Marié by Reutlinger
Pauline Lauters-Gueymard by Reutlinger
Emilia La Grua by Disdéri (2)
Emilia La Grua by Disdéri (3)
Marc Bonnehée by Disdéri
Leone Giraldoni by Laurent
Antonio Cotogni by Laurent
Short note with autograph Marc Bonnehée
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Marie Blanche Peschard by Gaston & Mathieu
Sigrid Arnoldson by Walery
Sigrid Arnoldson by Unknown
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Sigrid Arnoldson by Nadar
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Anna Klemming by Florman
Signe Hebbe by Florman
Signe Hebbe by Eurenius & Quist
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Fritz Arlberg by Unknown
Anders Willman by Florman
Marie Caroline Miolan-Carvalho by Maze
Short note with autograph Marie Caroline Miolan-Ca…
Short note with autograph Marie Caroline Miolan-Ca…
Louise Liebhardt by Negretti & Zambra
Désirée Artôt by Poulton
Therese Tietjens by Elliott & Fry (1)
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Bertha Ehnn by Luckhardt
Franz Eppich by Gertinger
Bertha Ehnn and Charles Adams by Luckhardt (2)
Bertha Ehnn and Charles Adams by Luckhardt (1)
Amalie Materna and Franz Eppich by Luckhardt
Gustav Walter by Luckhardt
Gustave Roger by Luckhardt
Ilma de Murska by Luckhardt
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Italo Gardoni by Disdéri (2)
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Lina Bell by Nadar
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Célestine Galli-Marié by Carjat (1)
Célestine Galli-Marié, born Célestine Marié de l'Isle (1840-1905); French mezzo-soprano.
She was the daughter of the opera singer Félix Mécène Marié de l'Isle (1811-1882), who taught her singing. In 1859 she made her debut at Strassburg and in 1861 she performed at Lisbon. From 1862 until 1885 she was engaged at the Paris Opéra-Comique. She created various première-roles. The most known are Kaled in Maillart’s “Lara”(1864), Blandine in Gevaert’s “Le capitaine Henriot” (1864), Friday in Offenbach’s “Robinson Crusoé” (1867), Fantasio in Offenbach’s “Fantasio” (1872), Lazarillo in Massenet’s “Don César de Bazan” (1872) and Zanetto in Paladilhe’s “Le passant” (1872). She is however best remembered for creating the title-role in the opera “Mignon” (1866) by Ambroise Thomas (1866) and the title-role in “Carmen” by Georges Bizet (1875). These two roles made her world famous and from 1875 on she made guest appearances all over the world in these two opera’s. In 1885 she appeared in the 100th (gala)performance of Carmen at the Opéra-Comique. Here she ended her career in the same year. In 1890 she returned to the Opéra-Comique to sing in a fundraising performance to erect a monument to the composer Bizet.
The mezzo-soprano Paola Marié (1847-1919) was her younger sister and was also well known for the interpretations of Carmen and Mignon.
On the photo she is seen as Mignon in the eponymous opera by Ambroise Thomas.
She was the daughter of the opera singer Félix Mécène Marié de l'Isle (1811-1882), who taught her singing. In 1859 she made her debut at Strassburg and in 1861 she performed at Lisbon. From 1862 until 1885 she was engaged at the Paris Opéra-Comique. She created various première-roles. The most known are Kaled in Maillart’s “Lara”(1864), Blandine in Gevaert’s “Le capitaine Henriot” (1864), Friday in Offenbach’s “Robinson Crusoé” (1867), Fantasio in Offenbach’s “Fantasio” (1872), Lazarillo in Massenet’s “Don César de Bazan” (1872) and Zanetto in Paladilhe’s “Le passant” (1872). She is however best remembered for creating the title-role in the opera “Mignon” (1866) by Ambroise Thomas (1866) and the title-role in “Carmen” by Georges Bizet (1875). These two roles made her world famous and from 1875 on she made guest appearances all over the world in these two opera’s. In 1885 she appeared in the 100th (gala)performance of Carmen at the Opéra-Comique. Here she ended her career in the same year. In 1890 she returned to the Opéra-Comique to sing in a fundraising performance to erect a monument to the composer Bizet.
The mezzo-soprano Paola Marié (1847-1919) was her younger sister and was also well known for the interpretations of Carmen and Mignon.
On the photo she is seen as Mignon in the eponymous opera by Ambroise Thomas.
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