Caroline Branchu

Caroline Branchu , born Caroline Chevalier of Cape-French Lavit (today Cape-Haitian) the November 2nd 1780 and died with Passy the October 14th 1850, is a Soprano French beginning of the 19th century.

Formation

Its remarkable musical provisions are worth the protection of the to him Chevalier of Saint-George, celebrates violonist who makes it enter to the Conservatoire on July 11th 1797. It leaves there with the first price song in 1798 and that lyric declamation in 1799. It has there in particular as professors Dugazon and Garat. This last, which holds it in high regard, written in 1797: This child has an astonishing instinct of the scene. She will exceed Madam de Saint-Huberty. It is a heart of fire, having with its service a voice whose stamp would awake Gluck.

Beginnings with the Opera

Engaged with the Opera, then Theater of the Republic and Arts, it begins on December 26th 1798 in Oedipus has Colone Sacchini, then in Iphigénie in Aulide of Gluck. Very quickly, it becomes the whooping-cough of the public, causing the concern of its rivals. Thus Mrs. Maillard, first singer of the Opera: Here are which makes play subjects of their schools and we remain there. Indeed, the 8, it must of, have named there one Chevalier, a Mulâtre which sings rather well, has one says. Little time afterwards, the future duchess of Abrantès writes indeed: The orchestra had begun its harmonic Sabbath, giving the tuning fork to Laforest and Laîné which shouted both with which better better, while Mrs. Maillard held to them head with lungs worthy of a Roman of ancient times, making us consider it regrettable that Miss Chevalier did not occupy the scene.

In 1800, it marries the dancer Isaac Branchu. In 1801, it is in the 5th place, after Mrs. Maillard, Latour, Henry and Armand, in the order of precedences of the professional singers.

Mistress of Napoleon?

It would be in the role of Iphigénie, on April 5th 1802, immediately after the Paix of Amiens, that Caroline would have drawn the attention of Napoleon and would have become her mistress. In any event, its career knows a beautiful acceleration then: it passes from 5th to the 2nd rank among the professional singers of the Opera, behind Mrs. Maillard.

September 24th 1803, it becomes officially professional singer of the particular music of Napoleon, then first singer of the imperial Room, with: 3000 francs of treatment, and: 2000 with his/her husband, dancer integrated in the corps de ballet. To the retirement of Mrs. Maillard in 1815, Caroline finally becomes to the first rank professional singers of the Opera.

A diva before the hour

It holds during its career not less than 91 roles and is illustrated in its interpretations of Gluck, Puccini, Paisiello, Cherubini, Spontini. One counts among his more beautiful creations the Vestal , for whom she plays Julia at the time of the first in 1807, Fernand Cortez, Bayadères, Abencérages, Jerusalem delivered, Olympie .

The retirement

Caroline takes her retirement on February 27th 1826 with a representation of Olympie (receipt: : approximately 12300 francs). She ignites then for a desilvered adventurer, ten years her junior, Claude-Charles Pierquin of Gembloux. One knows the unfolding and the unhappy end of the idylle by the tickets exchanged by the lovers, who pricked both of poetry, and by the correspondence between Caroline and his friend Marceline Desbordes-Valmore, when his/her companion had given up it. The two women are indeed very dependant and place even together, 20 rue Coquenard, after 1834.

She is buried in the 23e division of the Cimetière of the Father-Lachaise in Paris. Its bust is with the Opera, where was also, between 1859 and sets fire to it 1873, a portrait painted by Pineau of the House, raises David.

Judgments

Berlioz which saw in it “the incarnated lyric tragedy”, rented “the type of these soprano voices, full and resounding, soft and strong, able to dominate the choruses and the orchestra and being able to die out until the murmur more weakened timid passion, fear and daydream. ”
the critic musical François-Joseph Fétis writes in 1860: “All qualities were joined together in it… the power, the extent of the voice, broad and beautiful mechanism of song, an expressive and dramatic feeling, finally an intelligent and impassioned facial expression, such were the advantages by which it conquered initially the favor of the public. The impression which it produced was irresistible in its role of beginning (Didon), in those of Alceste, of the Vestal, Ipermestre in Danaïdes. Whatever were its successes, she regarded them only as engagements towards the public. Its studies did not slow down and until the end of its career, it accepted the councils of Garat which had transmitted its beautiful traditions to him. ”

References

Francis Ambrière, the Century of Valmore , Threshold, Paris, 1987
Francis Ambrière, Marceline Desbordes-Valmore and them his , Threshold, Paris, 1987
Patrick Barber, Daily life with the opera at the time of Rossini and Balzac , Hatchet, Paris, 1987
Andre Rouanet of Vine-Lavit, Caroline Branchu of Lavit, diva of the Opera and friend of Napoleon , Center of genealogy and history of Isles of America, Book n° 40, June 1992

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