The great cantatrice of whom we shall now give a sketch attained a
European reputation hardly inferior to the greatest, though she retired
from the stage when in the very golden prime of her powers. Like
Catalani, Persiani, and other distinguished singers, she was severely
criticised toward the last of her operatic career for sacrificing good
taste and dramatic truth to the technique of vocalization, but this
is an extravagance so tempting that but few singers have been entirely
exempt from it. Perhaps, in these examples of artistic austerity,
one may find the cause as much in vocal limitations as in deliberate
self-restraint.
Sophie Cruvelli was the daughter of a Protestant clergyman named
Cruwell, and was born at Bielefeld, in Prussia, in the year 1830. She
displayed noticeable aptitude for music at an early age, and a moderate
independence with which the family was endowed enabled Mme. Cruwell
to take Sophie, at the age of fourteen, to Paris that she might obtain
finishing lessons. Permarini and Bordogni were the masters selected, and
the latter, who perceived the latent greatness of his pupil, spared no
efforts, nor did he spare Sophie, for he was a somewhat stern, austere
teacher. For two years he would permit her to sing nothing but vocal
scales, and composed for her the most difficult _solfeggi_. Mme.
Cruwell then returned to Paris, and insisted that her daughter had made
sufficient progress in the study of French and music, and might very
well return home. Bordogni indignantly replied that it would be criminal
to rob the musical world of such a treasure as the Fraulein Cruwell
would prove after a few years of study. The mother yielded, saying: "If
my daughter devotes herself to the stage and fully embraces an artistic
career, we may endeavor to submit to further sacrifices; but, if
merely destined to bring up a family, she has learned quite enough of
_solfeggi_; her little fortune will all be swallowed up by her music
lessons." It was thus settled that Sophie should become a singer, and,
in accordance with Bordogni's advice, she proceeded to Milan, Italy, to
complete her musical studies.
But a dreadful discovery threw her into despair when she arrived at her
new quarters--she had lost her voice. Not a sound could be forced from
her throat. Sophie was in despair, for this was, indeed, annihilation to
her hopes, and there seemed nothing in fate for her but to settle
down to the average life of the German housewife, "to suckle fools and
chronicle small beer," when, on the eve of departure for Bielefeld,
Signor Lamperti, the famous teacher, announced himself. The experienced
maestro advised them to wait, reasoning that the loss of voice was
rather the result of fatigue and nervousness than of any more radical
defect. It was true, for a few days only had passed when Sophie's voice
returned again in all its power. Lamperti devoted himself assiduously
to preparing the young German singer for her _début_, and at the end of
1847 she was enabled to appear at La Fenice, under the Italianized name
of Cruvelli, in the part of _Dona Sol_ in "Ernani." This was followed
by a performance of _Norma_, and in both she made a strong impression
of great powers, which only needed experience to shine with brilliant
luster. The fact that her instructor permitted her to appear,
handicapped as she was by inexperience and stage ignorance, in _rôles_
not only marked by great musical difficulty, but full of dramatic
energy, indicates what a high estimate was placed on her powers.
Mr. Lumley, the English _impressario_, was at this time scouring Italy
for fresh voices, and, hearing Mlle. Cru veil i, secured her for his
company, which when completed consisted of Mmes. Persiani and Viardot,
Miles. Alboni and Cruvelli, Signori Cuzzani, Belletti, Gardoni, and
Polonini. Mlle. Cruvelli was now eighteen, and in spite of the Lind
mania, which was raging at white heat, the young German cantatrice made
a strong impression on the London public. Her first appearance was in
"Ernani," on February 19, 1848. The performance was full of enthusiasm
and fire, though disfigured by certain crudities and the violence of
unrestrained passion. Her voice, in compass from F to F, was a clear,
silvery soprano, and possessed in its low notes something of the
delicious quality of the contralto, that bell-like freshness and
sonority which is one of the most delightful characteristics of the
human voice. Her appearance was highly attractive, for she possessed a
finely molded figure of middle height, and a face expressive, winning,
and strongly marked. She further appeared as _Odabella_ in "Attila," and
as _Lucrezia_ in "I Due Foscari," both of which performances were very
warmly received. During the season she also sang in "Nino," "Lucrezia
Borgia," "Il Barbiere," and "Nozze di Figaro." Her _Rosina_ in Rossini's
great comic opera was a piquant and attractive performance.