Laure Cinti-Damoreau

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Musée de l'Opéra
, Paris
Rossini's William Tell
.
Laure Cinti-Damoreau

Laure Cinti-Damoreau (6 February 1801 – 25 February 1863) was a French

Rossini
roles.

Life and career

Born Laure-Cinthie Montalant in Paris, she studied in Paris with

King's Theatre in London.[1] After complementary studies with composer Gioachino Rossini, she sang in the Paris premiere of Elisabetta, regina d'Inghilterra and created the role of Countess Folleville in Il viaggio a Reims
.

She made her debut at the

Cornelie Falcon might undermine her leading position at the Opéra, she moved to the Opéra-Comique where she appeared in new operas by Auber (L'Ambassadrice and Le Domino noir).[1] She left the Opéra-Comique in 1841 when Auber broke his promise to entrust her with the leading role in his new opera Les Diamants de la couronne, giving it instead to Anna Thillon, for whom he had a passion.[3] Thereafter she continued to sing in concerts for some years also touring America in 1844.[1]

She taught at the Paris Conservatory from 1833 until 1856, and published a "Méthode de chant" in 1849, still available today as "Classic Bel Canto Technique". She also produced a notable series of "notebooks" where she wrote down in music notation her own embellishments to key sections of many roles and arias she performed. These notebooks are currently kept at the Lilly Library (Indiana University) and are a major primary source for the study of bel-canto performance practice and Rossini scholarship.

She was married to tenor Vincent-Charles Damoreau (1793–1863) from 1828 until 1834, with whom she had a daughter, Maria Cinti-Damoreau, also a soprano, who married the librarian and composer Jean-Baptiste Weckerlin.

She died in Chantilly.

Bibliography

  • Giorgio Appolonia: Le voci di Rossini (Torino: EDA, 1992), pp. 300–309.
  • Roland Mancini and Jean-Jacques Rouveroux (orig. H. Rosenthal and J. Warrack, French edition): Guide de l'opéra (Paris: Fayard, 1995);
  • Philip Robinson: "Cinti-Damoreau [née Montalant], Laure (Cinthie)", in Laura Macy (ed.): The Grove Book of Opera Singers (New York: Oxford University Press, 2008), pp. 88–89.
  • Lilly Library Manuscript Collections

References

  1. ^ a b c Robinson.
  2. ^ Theatre programme and Macedoine, "La Lorgnette", II, no. 598, 8 October 1825, pp. 1 and 4 (accessible online at Gallica – B.N.F.). Le Rossignol was to remain in the repertoire of the Opera "largely as a showpiece for soprano Laure Cinti-Damoreau" (Benjamin Walton: Rossini in Restoration Paris: The Sound of Modern Life (Cambridge, Cambridge University Press, 2008), p. 238, note 60).
  3. ^ Jean Gourret: Histoire de l'opéra-comique (Paris: Publications universitaires, 1978), pp. 111 and 116.